m 


* 


Digitized  by  the  Internet  Archive 

in  2016 


https://archive.org/details/workofcharleskee00penn_0 


THE  WORK  OF  CHARLES  KEENE. 


PHOTOGRAVURE  reproduction  by  Swan  Electric  Engraving  Company 
of  the  Old  House  at  Wit  ley. 


THE  WORK  OF  CHARLES  KEENE 
WITH  AN  INTRODVCTION  & 
COMMENTS  ON  THE  DRAW 
INGS  I LLV  STRATI  N G THE 
ARTIST’S  METHODS 


IOSEPH  PENNELL 

TO  WHICH  IS  ADDED  A 
BIBLIOGRAPHY  OF  THE 
BOOKS  KEENE  ILLVS 
TRATED  AND  A CATA 
LOGVE  OF  HIS  ETCH 
INGS  BY  W.  H.  CHESSON 


PRINTED  AT  THE  WHITEFRIARS  PRESS,  FOR  T.  FISHER  UNWIN 
AND  BRADBURY,  AGNEW,  & CO.  LD.,  LONDON,  MDCCCXCVII. 


PREFACE. 


I WISH  to  state  that  I am  only  responsible  for  the  Introduction  to  this 
volume — a volume  which  has  grown  far  beyond  its  original  limits, 
though  I believe  it  to  be  in  its  present  form  a vast  improvement  on  the 
plan  which  was  first  proposed.  I should  like  also  to  acknowledge  the 
assistance  I have  received  from  Mrs.  Edwin  Edwards  and  Mr.  Henry  Keene. 

Mr.  Chesson  desires  to  acknowledge  particularly  the  kindness  of  Mrs. 
Edwards,  Mr.  J.  P.  Heseltine,  and  Mr.  Henry  Keene  in  according  him 
the  privilege  of  examining  their  collections  of  Keene’s  drawings  and  etchings. 
For  assistance,  given  or  intended,  thanks  are  also  due  from  him  to  Messrs. 
Bradbury,  Agnew,  & Co.,  Messrs.  Chatto  and  Windus,  Mr.  H.  M.  Cundall, 
Mr.  Joseph  W.  Darton,  Mr.  Joseph  Day,  Mr.  W.  Dent  (The  Book-Finder ), 
Mr.  Edmund  Evans,  Mr.  W.  Faux,  Mr.  Birket  Foster,  Messrs.  Foulsham 
& Co.,  Mr.  J.  Garmeson,  Sir  Alfred  Baring  Garrod,  and  his  son,  Dr.  Archibald 
Garrod,  Mr.  H.  Garside,  Mr.  Horace  Harral,  Mr.  A.  J.  Hipkins,  F.S.A., 
and  his  son,  Mr.  John  Hipkins,  Miss  Nora  Hopper,  Mr.  Mason  Jackson, 
Mr.  W.  MacKenzie  (Editor  of  Black  and  White),  Mr.  H.  S.  Marks,  R.A., 
Mr.  Edward  Marston,  Mr.  David  Mathewson,  Mr.  G.  H.  May,  Mr.  J.  H. 
Murray,  Mr.  Claude  Phillips,  Messrs.  Routledge  & Sons,  Mr.  Henry  Silver, 
Mr.  R.  F.  Sketchley,  Messrs.  Smith,  Elder  & Co.,  Mr.  M.  H.  Spielmann, 
Mr.  Edward  F.  Strange,  Mr.  Gleeson  White,  and  the  Editor  of  “ Zadkiel’s 
Almanac.”  Separate  and  grateful  acknowledgment  must  be  made  to 
Mr.  George  Somes  Layard  for  his  courtesy  in  reading  Mr.  Chesson’s  proof 
with  a view  to  contributing  to  its  accuracy  and  fulness,  a courtesy  which 
is  the  more  remarkable,  since  it  is  understood  to,  be  that  gentleman’s 
intention  to  publish  at  some  future  time  another  bibliography  of  the  works 
of  Charles  Keene. 

J.  P. 


CONTENTS 


PREFACE 

LIST  OF  ILLUSTRATIONS 

THE  WORK  OF  CHARLES  KEENE,  BY  JOSEPH  PENNELL— 

INTRODUCTION 

SELECTED  DRAWINGS,  WITH  COMMENTS. 
BIBLIOGRAPHY  BY  W.  H.  CHESSON— 

NOTE 

LIST  OF  ETCHINGS  BY  CHARLES  KEENE  . 

LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE 


PAGE 


11—36 


37—263 


265 

271 


277 


LIST  OF  ILLUSTRATIONS. 

PAGE 

Old  House  at  Witley  ..........  Frontispiece 

Photogravure  reproduction  of  etching  by  C.  Keene,  by  Swan  Electric  Engraving  Company. 

Portraits  of  Charles  Keene,  drawn  by  himself  . . . n,  13,  17,  20,  24,  28,  31,  34,  36 

Pen  and  pencil  drawings.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

Punch  Pocket-Bock  ..............  39 

Etching,  “The  Matrimonial  Hurlingham,”  by  C.  Keene.  Printed  from  original  plate. 

Study  for  “A  Call  for  the  Manager”  . . . . . . . . -41 

Pencil  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  for  “ A Call  for  the  Manager  ” . . . . . . . . . . 43 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

“A  Call  for  the  Manager,”  Punch,  September  30th,  1876 .45 

Wood-engraving  by  J.  Swain. 

Study  for  “Reminiscences”.  ............  46 

Pen  drawing.  Photo-engraved  by  W.  H.  Ward  & Co. 

“Reminiscences,”  Punch,  March  nth,  1871  .........  47 

Wood-engraving  by  |.  Swain. 

Original  Drawing  for  “ Delicate  Attention  ” ........  48 

Pen  drawing.  Photo-engraved  by  Walker  Sc  Boutall. 

“Delicate  Attention,”  Punch  Almanack,  1877 49 

Wood-engraving  by  J.  Swain. 

Study  for  “ High  Life  Below  Stairs  50 

Pen  and  wash  drawing.  Photo-engraving  by  A.  and  C.  Dawson. 

“High  Life  Below  Stairs,”  Punch,  May  13th,  1876 51 

Wood-engraving  by  J.  Swain. 

Study  of  a Maidservant  . . . . . ...  . . . . . . 52 

Pen  drawing.  Photo-engraving  by  Clark  & Co. 

“Manners,”  Punch,  April  nth,  1868  ..........  53 

Wood-engraving  by  J.  Swain. 

Study  for  “ Reaction  ” .............  54 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“Reaction,”  Punch,  November  6th,  1869  ..........  55 

Wood-engraving  by  J.  Swain. 

Photogravure  of  Pen  Drawing  of  Old  Man’s  Head.  . . . . . . . 57 

Art  Reproduction  Company. 

Study  for  “ Perspective  59 

Pen  drawing.  Photo-engraving  unsigned.  From  the  Gazette  des  Beaux  Arts. 


h 


LIST  OF  ILLUSTRATIONS. 


PAGE 

Study  for  “Perspective”  .............  6i 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“Perspective,”  Punch  Almanack , 1868 63 

Wood-engraving  by  J.  Swain. 

Study  for  “ Mind  and  Matter  ”... 64 

Pen  drawing.  Photo-engraved  by  Carl  Henschel  & Co. 

“Mind  and  Matter,”  Punch , October  19th,  1872  65 

Wood-engraving  by  J.  Swain. 

Study  for  “ Proof  Positive  67 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

“Proof  Positive,”  Punch , February  22nd,  1868 69 

Wood-engraving  by  J.  Swain. 

Study  for  “The  Unrecognised  Visitor”  ..........  70 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“The  Unrecognised  Visitor,”  Punch , July  21st,  1866 71 

Wood-engraving  by  J.  Swain. 

Study  for  “Artful — Very!”  ............  72 

Pen  drawing.  Photo-engraved  by  W.  H.  Ward  & Co. 

“Artful — Very!”  Punch , September  28th,  1867  ........  73 

Wood-engraving  by  J.  Swain. 

Original  Drawing  for  “ During  the  Cattle  Show  ” . . . . . . . 74 

Pen,  brush,  and  pencil.  Photo-engraved  by  W.  H.  Ward  & Co. 

“ During  the  Cattle  Show,”  Punch.,  December  9th,  1882  ......  75 

Wood-engraving  by  J.  Swain. 

Study  for  “A  Woman-Hater”  ............  76 

Pencil  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

“A  Woman-Hater,”  Punch , October  26th,  1867  ........  77 

Wood-engraving  by  J.  Swain. 

Original  Drawing  for  “Culture  for  the  Working  Classes”  . . . . . 78 

Pen  and  wash.  Photo-engraved  by  W.  H.  Ward  & Co. 

“Culture  for  the  Working  Classes,”  Punch , August  25th,  1877  .....  79 

Wood-engraving  by  J.  Swain. 

Studies  for  “ Nae  that  Fou  ! ” . . . . . . . . . . . . 80 

Pen  drawings.  Photo-engraved  by  W.  H.  Ward  & Co. 

“Nae  that  Fou  !”  Punch , October  8th,  1870  .........  81 

Wood-engraving  by  j.  Swain. 

Original  Drawing  for  “Responsibility” 82 

Pen  and  wash.  Photo-engraved  by  W.  H.  Ward  & Co. 

“ Responsibility,”  Punch , February  1 8th,  1888  . . . . . . . . .83 

Wood-engraving  by  J.  Swain. 

Study  of  Landscape  . . . . . . . . . . . . . . 85 

Pencil.  Photo-engraving  by  Clark  & Co. 

“A  Bad  Season,”  Punch , October  12th,  1867  .........  87 

Wood-engraving  by  J.  Swain. 


LIST  OF  ILLUSTRATIONS. 


PAGE 

“Encouraging,”  Punch , August  2nd,  1868  ..........  89 

Wood-engraving  by  J.  Swain. 

Study  of  Foliage  ..............  91 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  a Lady  ..............  93 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  for  “ ’Arry  on  the  Boulevard”  ..........  95 

Pencil.  Photo-engraving  by  Clark  & Co. 

Original  Drawing  for  “’Arry  on  the  Boulevard”.  . . . . . . . 96 

Pen,  pencil  and  wash.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

“’Arry  on  the  Boulevard,”  Punch , August  1 6th,  1890  .......  97 

Wood-engraving  by  J.  Swain. 

Study  for  “ A Broad  Hint  98 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“A  Broad  Hint,”  Punch,  February  17th,  1872  ........  99 

Wood-engraving  by  J.  Swain. 

“Register!  Register!”  Punch  Almanack , 1869  . . . . . . . . . 101 

Wood-engraving  by  J.  Swain. 

Study  for  “Robert”  .............  103 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“Robert,”  Punch , March  19th,  1881  ...........  105 

Wood-engraving  by  J.  Swain. 

Study  for  “Robert”  . . . . . . . . . . . . .107 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“ Robert,”  Punch , September  4th,  1880  . . . . . . . . 109 

Wood-engraving  by  J.  Swain. 

Study  for  “ Robert  ” . . . . . . . . . . . . .111 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“Robert,”  Punch , August  14th,  1880  . . . . . . . . . . . 113 

Wood-engraving  by  J.  Swain. 

Study  for  “The  Old  Shepherd  and  his  Pipe”  . . . . . . . 1 1 5 

Pen  drawing.  Photo-engraved  by  Clark  & Co. 

Study  for  “The  Old  Shepherd  and  his  Pipe”  . . . . . . . . 117 

Pen  and  wash.  Photo-engraved  by  W.  H.  Ward  & Co. 

Study  for  “The  Old  Shepherd  and  his  Pipe”  . . . . . . . .119 

Pen  drawing.  Photo-engraving  by  A.  and  C.  Dawson. 

“The  Old  Shepherd  and  his  Pipe,”  Once  a Week , August  24th,  1867  . . . . 121 

Wood-engraving  by  J.  Swain. 

Illustration  for  “Evan  Harrington,”  Once  a Week,  April  28th,  i860  . . . 123 

Wood-engraving  by  J.  Swain. 

Study  of  an  Interior  . . . . . . . . . . . . . . 125 

Pen  drawing.  Photo-engraving  by  A.  and  C.  Dawson. 

Study  of  a Horse  and  Cart  . . . . . . . . . . . .126 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 


LIST  OF  ILLUSTRATIONS. 


PAGE 

Study  of  a Horse  and  Cab  . . . . . . . . . . . . 127 

Pencil  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Charcoal  Drawing 129 

Photo-engraving  by  Clark  & Co. 

Charcoal  Drawing  . . . . . . . . . . . . . . 131 

Photo-engraving  by  W.  H.  Ward  & Co. 

Study  for  “The  March  of  Arthur” 133 

Charcoal.  Photo-engraved  by  Clark  & Co. 


Breton  Peasants  singing  “The  March  of  Arthur,”  Once  a Week,  April  nth,  1863  . 135 

Wood-engraving  by  J.  Swain. 


Study  for  “My  Brother’s  Story,”  Once  a Week,  May  30th,  1863  . . . . . 137 

Charcoal.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

Study  for  “The  Painter  Alchemist”  . . . . . . . . . -138 

Pen  and  Chinese  white.  Photo-engraving  by  Art  Reproduction  Company. 

“The  Painter  Alchemist,”  Once  a Week , p.  43,  1867  . 139 

Wood-engraving  by  J.  Swain. 

A Battle  ................  141 

Wash  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Sketch  of  Hever  Castle  . . . . . . . . . . . . . 143 

Pen  drawing.  Photo-engraving  by  Clark  & Co. 

Sketch  supposed  to  be  Turnham  Green  . . . . . . . . . . 145 

Pen  drawing.  Photo-engraving  by  Clark  & Co. 

Sketch  of  a Church  . . . . . . . . . . . . . . 147 

Pen  drawing.  Photo-engraving  by  Clark  & Co. 

Study  of  a Man  reading  . . . . . . . . . . . 149 

Pen  drawing.  Photo-engraving  by  Clark  & Co. 

Study  of  a Lady  . . . . . . . . . . . . . . . 151 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  for  “The  Cambridge  Grisette  ” . . . . . . . . . .152 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Drawing  of  a House  in  Hammersmith  . . . . . . . . . . 155 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  Sc  Co. 

Lady  seated  1 5 7 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Study  of  an  Interior,  with  Figure  of  Youngish  Girl  . . . . . . . 159 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“ Punch  ” Study  : Drunken  Man  in  a Chair  . . . . . • • .161 

Pencil  drawing.  Photo-engraved  by  Art  Reproduction  Company. 

“Punch”  Study  : An  Astonished  Man  . . . . . . . ■ • • 163 

Pencil  drawing.  Photo-engraved  by  Art  Reproduction  Company. 

Study  for  “A  Caudle  Lecture”  . . . . . • • • • • .164 

Pen  drawing.  Photo-engraved  by  Carl  Henschel  & Co. 

“A  Caudle  Lecture”  165 

Wood-engraving  by  }.  Swain. 


LIST  OF  ILLUSTRATIONS. 


PAGE 

“Punch”  Study  : Man  with  Book,  sleeping  .........  167 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Model  for  “Punch”  Subject:  Lady  reading  .........  169 

Pen  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Study  for  a Book  Illustration,  Unknown  . . . . . . . . .171 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  an  Old  Lady  . . . . . . . . . . . . . 173 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  same  Old  Lady  seated  . . . . . . . . . . *05 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Charles  Keene  as  a Volunteer  . . . . . . . . . . . . 177 

Pen  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Study  of  a Pioneer  ..............  179 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Study  of  Woman  and  Child  ............  181 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Study  of  a Female  Figure  writing  ..........  183 

Pencil  drawing.  Photo-engraving  by  Clark  & Co. 

Study  of  a Seated  Figure  with  a Fan  ..........  185 

Pencil  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Study  of  a Man  reading  ............  187 

Wash.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

Study  of  a Woman  with  Parasol  ...........  189 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“Real  Irish  Grievance,”  Punch , March  25th,  1871  .......  191 

Wood-engraving  by  |.  Swain. 

Study  of  an  Irish  Peasant  . . . . . . . . . . . . . 193 

Pen  drawing.  Photo-engraving  by  A.  and  C.  Dawson. 

Portraits  of  Himself  . . . . . . . . . . . . .195 

Pencil  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Study  of  a Jew  ...............  197 

Pencil  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Study  for  “Autumn  Leaves”  ............  198 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“ Autumn  Leaves,”  Punch  . . . . . . . . . . . . 199 

Wood-engraving  by  J.  Swain. 

Study  of  a Head  : Man  in  Black  Cap  and  Comforter  ......  201 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  an  Old  Man’s  Head  ............  203 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Study  of  a Little  Girl  .............  205 

Pencil  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

Man  and  Little  Girl  seated  on  a Sofa  ..........  207 

Pencil  drawing.  Photo-engraving  by  Clark  & Co. 


LIST  OF  ILLUSTRATIONS. 


PAGE 


Study  of  Drunken  Man  passing  a Bank  .........  209 

Brush  drawing.  Photo-engraving  by  Walker  & Boutall. 

Study  of  a Head  in  the  Manner  of  the  Pre-Raphaelites  . . . . . . 211 

Pencil  drawing.  Photo-engraving  by  Clark  & Co. 

Study  of  a Head  in  the  Manner  of  the  Pre-Raphaelites  . . . . . -213 

Pencil  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

Study  of  a Head  in  the  Style  of  Lawrence  . . . , . . . ..215 

Pencil  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

A Model  in  Costume . . . .217 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

“ Dundreary  218 

Pen  drawing.  Photo-engraving  by  W.  H.  Ward  & Co. 

“Once  a Week”  Study:  Seated  Figure 221 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  a Child,  with  Helmet  and  Boots  .........  223 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  Landscape,  with  Elm  Trees  ..........  225 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  of  a Nun  or  Sister  .............  227 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Head  of  a Dog  ..............  229 

Pencil  drawing.  Photo-engraving  by  Art  Reproduction  Company. 

A Langham  Model  in  Spanish  Costume  . . . . . . . . . 231 

Pen  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

Study  for  Figure  in  “Penny  Wise”  ..........  232 

Pen  and  wash  drawing.  Photo-engraving  by  Carl  Henschel  & Co. 

“Penny  Wise,”  Punch,  February  15th,  1873  .........  233 

Wood-engraving  by  J.  Swain. 

Miss  Layinia  Brounjones — 

All  are  engraved  on  wood  by  J.  Swain,  and  were  published  in  Punch. 


No.  1. — “Miss  Lavinia  Brounjones  prepares  for  a Sketching  Expedition  in  the 


Highlands 235 

No.  2. — “Settled  in  her  Country  Lodgings,  Lavinia  finds  she  has  forgotten  her 
Bath,  but  her  Ingenuity  enables  her  to  overcome  the  Difficulty  by  develop- 
ing the  Resources  of  the  Place,”  August  25th,  1866  . . . . . . 237 

No.  3. — “Having  secured  a Model  for  ‘The  Flocks’  in  her  Picture,  ‘Cattle- 
Lifting,’  ” September  1st,  1866  ..........  239 

No.  4. — “The  Model  proves  Refractory  !”  September  8th,  1866  . . . . 241 

No.  5. — “Overcome  by  Fatigue  and  Excitement,  she  has  slept  profoundly,  but 
towards  Morning  suffers  severely  from  Nightmare.  On  awaking,  she  finds 
her  Model  where  she  least  expected  it,”  September  15th,  1866  . . . 243 


LIST  OF  ILLUSTRATIONS. 


PAGE 

Miss  Lavinia  Brounjones  ( continued ) — 

No.  6. — “Lavinia  arrives  at  a Waterfall  and  asks  its  Name.  The  Shepherd 
(not  understanding  English)  informs  her  that  it  is  called  (as  Lavinia 

SUPPOSES)  ‘ VlCHAROOBASHALLOCHOGGILNABO.’  LaVINIA  THINKS  IT  A VERY  PRETTY 

Name,”  September  22ml,  1866  ...........  245 

No.  7. — “A  Bright  Idea  strikes  the  Shepherd,  and  before  Lavinia  can  remon- 
strate, HE  TRANSPORTS  HER  IN  THE  USUAL  MANNER  TO  THE  OTHER  SlDE,”  September 
29th,  1866  ..............  247 

No.  8. — “She  comes  suddenly  on  a Strange  Structure,  apparently  a Native 
Fort,  and  is  just  going  to  sketch  it,  when  a Savage  of  Gigantic  Stature, 

AND  ARMED  TO  THE  TEETH,  STARTS  FROM  AN  AmBUSH  AND  MENACES  HER  IN 

Gaelic,”  October  6th,  1866  ...........  249 

No.  9. — “Lavinia  takes  a Siesta,”  October  13th,  1866  . . . . 251 

No.  9 ( continued ). — “And  the  Frightful  Situation  she  finds  herself  in  at  the 
end  of  it,”  October  13th,  1866  ..........  253 

No.  10. — “The  Return  Home,”  October  20th,  1866  .......  255 

An  Old  Man  about  to  seat  himself  . . . . . . . . . .257 

Pencil  and  white  chalk.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

Irish  Peasants  ...............  259 

Black  and  white  chalk.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

Interior  of  Shop  . . . . . . . . . . . . . .261 

Pen  and  wash.  Photo-engraving  by  Swan  Electric  Engraving  Company. 

Man  playing  on  a ’Cello  . . . . . . . . . . . . 263 

Brown  ink  and  wash.  Photo-engraving  by  Swan  Electric  Engraving  Company. 


THE  WORK  OF  CHARLES  KEENE. 

INTRODUCTION. 

RECENTLY  fault  was  found  with  the  notice  of  Charles  Keene  in  my 
book  on  Pen  Drawing,  because  it  was  less  than  half  a page  in  length,  and, 
therefore,  it  was  said,  ludicrously  inadequate.  My  desire  was  to  show  my 
great  admiration  for  the  distinguished  artist  in  the  small  space  then  at  my  disposal. 
But,  apparently,  warmth  of  appreciation  is  not  to  he  weighed  with  lengthy  wordiness. 
It  was  also  suggested  that  the  drawings  I gave  to  represent  Keene  seemed  to  have 
been  chosen  at  haphazard.  But  this  was  really  what  I myself  had  admitted,  and, 
indeed,  intended.  For,  it  is  only  when  a man’s  work  is  of  unvarying  excellence  that 

1 1 


1 


B 


THE  WORK  OF  CHARLES  KEENE. 


there  is  no  need  to  select  any  one  particular  example  rather  than  another.  And  so  my 
critic,  unwittingly,  had  but  stumbled  upon  my  argument,  and  emphasised  the  truth  I 
wanted  to  express — that  Charles  Keene  is,  with  the  possible  exception  of  Hogarth, 
the  greatest  artist  England  has  produced,  that  his  work  is  uniformly  of  supreme 
merit,  that  it  is  all  worth  the  acquisition,  the  consideration,  and  the  loving  study  of 
the  collector,  the  writer,  and  the  artist.  Now,  however,  there  has  come  to  me  the 
chance  of  trying  to  make,  for  the  first  time,  a completely  representative  selection  and 
exhibition  of  his  drawings,  and  the  opportunity  to  discuss  them  fully. 

It  is  not  my  intention  to  speak  of  Charles  Keene,  the  man.  His  life  has  been 
written  by  Mr.  George  Somes  Layard,  and  I imagine  there  is  little  still  unrevealed, 
little  to  be  concealed,  little  not  already  recorded.  In  his  History  of  Punch  Mr.  M.  H. 
Spielmann  has  given  the  dates  and  the  facts  of  Keene’s  connection  with  that  paper. 
Here  and  there  may  be  found  a chance  article  upon  his  personality  or  his  published 
drawings.  But  no  one  has  yet  attempted  to  describe  his  art  work  as  a whole  ; and, 
I may  add,  no  one,  save  a few  of  his  most  intimate  friends,  has  any  idea  of  its 
variety  and  extent.  But,  simply  because  I have  been  granted  the  opportunity  of 
seeing  and  studying  Keene’s  work  would  not  of  itself  qualify  me  to  write  about  it. 
In  fact,  to  write  as  a cataloguer,  a compiler,  a comparer,  without  technical  know- 
ledge, of  any  artist,  seems  to  me  an  impertinence,  and  the  result  is  usually  worse 
than  useless,  save  to  the  newest  critic,  the  self-appointed  disciple  of  Morelli.  If 
there  are  other  reasons  why  I am  considered  competent  for  the  task  these  are  known 
to  his  friends,  his  executors,  and  his  publishers,  and  it  is  not  necessary  for  me  to 

explain  them.  It  is  enough  to  say  that  now,  some  six  years  after  his  death,  I have 
been  accorded  certain  privileges  by  his  brother,  Mr.  Henry  Keene,  who  has  allowed 
me  to  reproduce  any  of  the  drawings  that  belong  to  the  estate  or  to  himself,  and 
by  Mrs.  Edwin  Edwards,  who  has  in  her  possession  so  many  beautiful  examples  of 
Keene’s  work.  Again,  the  publishers  of  Punch , Messrs.  Bradbury  and  Agnew,  have 

placed  all  their  wood  engravings  and  colour  prints  from  his  drawings  at  my  disposal. 

I have  also  gone  through  the  national  and  private  collections  of  the  country  for  the 
purpose  of  selecting  designs  which  I thought  would  further  testify  to  the  greatness 
of  the  artist.  Mr.  T.  Fisher  Unwin,  who  owns  a large  number  of  preliminary 
sketches  and  studies  lor  Punch  pictures,  has  given  me  permission  to  use  any  or  all 
of  them.  For  it  was  out  of  his  collection,  really,  that  the  idea  of  this  book  was 

developed.  Originally  the  intention  was  to  take  the  preliminary  sketches,  each 


12 


THE  WORK  OF  CHARLES  KEENE. 


in  as  many  different  states  and  versions  as  we  could  find,  and  face  them  by  the 

completed  wood-engravings  made  for  Punch  by  Mr.  Swain,  from  whom,  it  is  interesting 
to  know,  Mr.  Unwin  obtained  his  collection.  But  as  I went  further  into  the  matter 
it  struck  me,  more  and  more,  that  to  include  only  these  studies  and  the  finished 
engravings  would  be  but  to  add  another  imperfect  chapter  to  the  history  of  the  work 
of  this  great  artist,  and  that,  to-day,  before  his  drawings  are 
scattered,  as  they  must  be  scattered  in  the  near  future,  to 
become  the  treasures  of  private  collectors  and  public  museums, 
it  would  be  well  to  make  as  representative  a showing  as  I 
could  of  the  different  forms  of  art  of  which  he  was  t‘he 
master. 

And  I think  besides  that  too  much  cannot  now  be  said 
about  Keene,  too  much  of  his  work  cannot  be  exhibited, 
whether  in  print  or  elsewhere,  as  some  slight  amends  for 

the  general  indifference  which  was  his  portion  during  life. 

I need  not  point  out  how  small  a fraction  of  the  popularity 
of  the  Punch  artists  fell  to  him.  To  the  many,  Punch  meant 
Leech  or  Doyle  or  Du  Maurier  ; only  the  few  looked  to  it 
for  Keene.  The  little  that  has  been  written  about  him 
proves  the  little  that  was  thought  of  him.  His  drawings, 
as  a rule,  were  received  in  silence  or  with  a silly  guffaw. 

It  is  curious  to  note  the  attitude  of  a critic  like  Mr.  Ruskin, 
who  could  be  so  generous  in  his  recognition  of  lesser  men. 

As  Mr.  Layard  has  said,  and  I am  unable  to  disprove  his 
assertion,  “ Mr.  Ruskin  did  not  find  that  Keene  was  worthy 
even  to  be  mentioned  when  he  took  upon  himself  to  discuss  the  Punch  artists.”  In 

his  Lecture  on  Leech  and  Tenniel  Keene’s  name  never  appears,  though  there  are  con- 
tinuous references  to  Du  Maurier,  though  he  and  Leech  and  Tenniel,  and  even  Lady 
Butler,  Mrs.  Allingham,  Miss  Kate  Greenaway,  and  Miss  Alexander,  are  exalted  here  or 
elsewhere.  However,  Mr.  Ruskin  could  not  quite  ignore  Keene.  When,  in  Ariadne 
Florentina  (vol.  vii.) , he  sneers  at  the  illustrators  of  cheap  Ladies  Pocket  Books , as  he 
has  just  been  praising  Du  Maurier  and  the  others,  it  is  clear  that  it  can  only  be  Keene 

* Even  before  this  book  appears  some  of  the  finest  will  have  been  dispersed  from  Melbourne  to  San 
Francisco. 


13 


B 2 


THE  WORK  OF  CHARLES  KEENE. 


who  has  so  incensed  him.  And  Keene  again  must  be  the  object  of  his  wrath  in 
that  unfortunate,  but  conveniently  forgotten,  passage  in  the  Art  of  England , in  which 
he  says  : “ Cheap  popular  art  cannot  draw  for  you  beauty,  sense,  and  honesty,  but  every 
species  of  distorted  vice,  the  idiot,  the  blackguard,  the  coxcomb,  the  paltry  fool,  the 
disgraced  woman,  are  pictured  for  your  honourable  pleasure  on  every  page.  These  are 
thoroughly  representative  of  the  entire  art  industry  of  the  modern  press.  With  clumsy 
caricature  struggling  to  render  its  dulness  tolerable  by  insisting  on  defect — if  perchance 
a penny  or  two  more  may  be  coined  out  of  the  Cockney-reader’s  itch  for  loathsome- 
ness.” This  delectable  sentiment  was  inspired  by  the  illustrated  books  and  magazines 
and  papers  of  the  year  1867  in  particular,  and  all  modern  English  illustrated  books  and 
papers  in  general.  As  Charles  Keene  was  among  the  most  distinguished  contributors  to 
these  publications,  it  is  safe  to  assume  that  he  came  in  for  a sufficient  share  of 
Mr.  Ruskin’s  anathema.  But  it  is  neither  wise  nor  fair  to  judge  Mr.  Ruskin  by 
any  one  of  his  criticisms.  He  has  a way  of  contradicting  himself,  as,  by  this  time, 
we  all  know.  Certainly,  with  charming  unconsciousness  of  the  denunciation  he  had 
uttered,  or  was  going  to  utter — I am  not  sure  in  what  order  these  lectures  were  given — 
he  did  not  hesitate  to  confess  in  Aratra  Pentelici  that  “ it  chanced  as  I was  preparing 
this  lecture,  one  of  our  most  able  and  popular  prints  gave  me  a woodcut  of  the  self-made 
man,  specified  as  such,  so  vigorously  drawn  and  with  so  few  touches  that  Phidias  or  Turner 
himself  could  scarcely  have  done  it  better  ” ; and  the  woodcut,  really  a wood  engraving, 
which  thus  charms  him,  and  is  worthy  to  be  ranked  with  the  work  of  Phidias,  and  to 
be  compared  to  a Greek  coin,  is  after  a Punch  drawing  by  Charles  Keene,  the  man  whom 
Mr.  Ruskin,  so  far  as  I know,  cannot  condescend  to  mention  by  name.  These  are  in- 
consistencies of  criticism,  it  might  be  thought,  better  forgotten,  but  they  help  one  to 
understand  why  Keene  was  so  little  known  to  the  public,  while  draughtsmen  of  infinitely 
less  merit  were  glorified.  Is  it  any  wonder  that  English  art  and  English  criticism  are 
a laughing-stock  to  the  world  when  such  pronouncements  can  be  seriously  delivered 
from  a professorial  chair,  and  even  more  seriously  printed  with  the  official  sanction  of 
the  University  of  Oxford  ? 

But  if  Keene,  as  the  most  accomplished  draughtsman  in  England,  was  never  rightly 
recognised,  there  seems  to  be  a prevailing  impression  that  this  was  a matter  of  indiffer- 
ence to  him.  I am  not  able  to  analyse  the  mental  attitude  of  an  artist,  to  “ reconstruct 
his  psychology  ” by  scientific  study  of  his  work.  But  still,  for  all  that  has  been  written 
and  said  about  Keene’s  indifference,  for  all  the  proof  that  his  own  letters  may  be  declared 


THE  WORK  OF  CHARLES  KEENE. 


to  give,  I cannot  help  thinking  his  supposed  independence  of  appreciation  something 
of  a pose,  concealing  beneath  it  a feeling  more  akin  to  despair,  which  grew  upon  him 
with  years  of  continued  neglect.  In  writing  of  him  it  has  been  pleasanter  to  speak,  as 
one  may  now  speak  freely,  of  his  delightful  personality,  of  his  quaint  traits,  of  his  love 
for  music,  of  his  more  or  less  eccentric  habits,  of  his  dogs,  his  bagpipes,  his  clays, 
of  the  fact  that  he  hardly  ever  rode  in  a hansom  cab,  and  often  cooked  his  own  dinner. 
Why  not  forget  the  discreditable  truth  that,  when  alive,  he  was  all  but  unknown,  that 
to  most  people  the  initials  “ C.  K.”  meant  nothing,  the  drawing,  unless  of  his  tipsy  men 
and  Sandies,  less,  and  the  legend  below  everything,  especially  when  it  was  quite  pointless 
and  unintelligible  as  supplied  to  him  by  the  professional  purveyor  of  jokes.  And,  after 
all,  you  are  reminded,  in  England  artists  at  least  always  knew  his  value,  while  he  was 
for  long  received  and  respected  on  the  Continent.  If  this  be  true,  then  certainly 
English  artists  had  a curious  fashion  of  expressing  their  pleasure  and  belief  in  his  work. 
It  was  all  very  well  for  Lord  Leighton  to  utter  platitudes  after  his  death,  all  very  well 
to  revive  the  legend  that  he  had  actually  once  been  invited  to  an  Academy  dinner. 
But  if  there  is  any  history  to  be  written  about  the  Royal  Academy  of  Arts  during 
the  last  thirty  years,  it  will  be  to  record  that  James  McNeill  Whistler,  Dante  Gabriel 
Rossetti,  and  Charles  Keene  did  not  belong  to  it — a scandal  no  whitewashing  by  Lord 
Mayors,  Presidents,  and  Prime  Ministers  can  remove. 

Nor,  in  reality,  was  he  appreciated,  as  the  report  is,  on  the  Continent.  At  the 
time  of  his  death  he  had  barely  been  heard  of  in  France,  despite  the  Gold  Medal 
awarded  him  at  the  Exhibition  of  1889.  For  it  was  then  M.  Jacques  Blanche  could 
only  hope  that  “ prochainement  il  sera  decouvert  a Paris  . . . par  que/qii un  de  nos  hardis 
lanceurs  de  nouveautes  et  declare  homme  de  genie  P This  was  written  after  the  Universal 
Exhibition.  And  it  was  also  a few  years  after  his  death  that  Bracquemond,  who, 
with  Blanche,  had  got  to  know  him,  not  from  the  pages  of  Punch , but  from  casual 
visits  to  London,  wrote,  “ Keene  est  peu  connu  en  France ,”  though  the  eminent  artist 
thinks  he  is  worthy  to  rank  with  Daumier,  with  Gavarni.  Even  Beraldi,  whose  monu- 
mental Graveurs  du  XIXe  Siecle  gives  him  a position  of  authority  in  France,  says,  “ Keene 
est  de  ceux  que  la  critique  7net  du  temps  a decouvrir.  Son  nom  nest  pas  crie  sur  les  toitsP 
These  are  the  verdicts  of  three  of  his  French  admirers,  and  the  only  other  article 
about  him  I have  been  able  to  find  in  a French  journal  was  contributed  by  an  English- 
man. I do  not  believe  that  the  German  public  showed  itself  more  sympathetic.  The 
friendliness  of  Menzel  is  accepted  as  a sign  of  Keene’s  popularity  in  Germany.  But  the 


U 


THE  WORK  OF  CHARLES  KEENE. 


Menzel  episode,  as  I have  heard  the  story  from  Keene’s  own  lips,  points  to  anything 
but  a triumph  in  the  studios  of  Berlin.  As  a tribute  of  his  admiration  of  the  German, 
Keene  sent  several  of  his  drawings  to  Menzel.  In  return,  and  after  an  unflatteringly 
long  interval,  Menzel  presented  photographs  and  proofs  of  his  own  work,  and  eventually, 
I believe,  some  originals  to  Keene.  However,  Keene  was  too  generous  to  go  into  these 
details  in  any  of  his  letters.  It  was  only  in  terms  of  sincere  eulogy  he  could  write  or 
speak  of  the  great  German  illustrator. 

But  if  this  foreign  neglect  cannot  affect  Keene’s  position,  it  does  show  that  Punch 
is  not  so  well  known  on  the  Continent  as  in  England.  That  he  himself  felt  his  position 
seems  to  me  very  likely,  though  he  was  the  last  to  let  the  world  know  that  he  did. 
And  the  world,  having  failed  to  see  the  beauty  and  greatness  of  his  art,  was  as  comfort- 
ably blind  to  the  fact  that,  beneath  a quaint  and  charming  and  always  delightful  exterior, 
lay  hidden  much  pain  and  sorrow  and  disappointment. 

There  is  the  less  excuse  for  the  public’s  unanimity  in  ignoring  him  since  the  one 
phase  of  his  art  hitherto  given  to  the  public  is  his  illustration,  essentially  the  most 
popular.  The  current  impression  is  that,  if  you  look  through  the  back  numbers  of  Punch , 
and  an  occasional  old  magazine  or  book,  you  have  learned  all  there  is  to  be  learned 
about  Charles  Keene  as  an  artist.  But  this  is  by  no  means  the  case. 

His  work  may  be  divided  properly — though  the  division  has  never  been  made — 
into  two  great  classes  : that  done  in  one  medium  or  another  for  his  own  study  and 
delight,  and  that  intended  for  publication.  You  may  imagine,  if  you  have  not  seen 
examples  of  the  former  class,  that  the  engravings  in  Punch  represent  him  fully  and 
satisfactorily.  Unfortunately,  they  do  not.  For  me,  however,  fortunately,  as  it  is  the 
reason  I now  have  the  pleasure  of  showing  that  there  existed  an  entirely  different 
artist,  drawing  in  absolutely  another  style  than  that  foisted  upon  him  by  the  wood- 
engraver — an  artist  of  whom  only  slight  glimpses  have  been  had  in  Mr.  Layard’s  book 
and  one  or  two  stray  magazine  articles. 

I shall  begin  by  speaking  of  the  unpublished  work  because  it  is  the  least  known, 
much  of  it  not  being  known  at  all,  and  because,  in  many  cases,  the  designs  that  were 
not  engraved,  if  complete  in  themselves,  were  still  but  preliminary  studies  for  illustra- 
tions. Many,  of  course,  were  done  with  no  such  intention.  There  are  the  costume 
poses  which  he  drew  at  the  Langham  Sketching  Club.  There  are  the  series  of  studies 
which  he  made  upon  his  few  and  rare  journeys  with  his  friend,  Mr.  Stacy  Marks,  or 
during  the  summers  he  spent  sketching  in  Warbleswick  and  other  places  with  Mr.  and 

16 


THE  WORK  OF  CHARLES  KEENE. 


Mrs.  Edwin  Edwards,  or  Mr.  Heseltine,  or  Mr.  Birket  Foster,  or  in  the  north  with 
Mr.  Crawhall  and  Sir  George  Reid.  Drawn  mostly  in  pen-and-ink,  with  a firm  yet 
exquisitely  delicate  touch,  these  studies  were  portraits  of  his  friends  and  the  people  he 
got  to  pose  for  him,  or  drawings  of  landscape  and  architecture  done  for  pure  delight 
in  the  subject,  though  most  afterwards  appear  as  backgrounds 
to  his  published  designs.  For  Keene’s  sketches,  unlike  those 
made  by  many  artists,  were  really  of  use  to  himself  for  future 
reference,  and  even  the  world  some  day  may  also  appreciate 
them.  The  average  painter  makes  hundreds  of  notes  and 
sketches  which  he  puts  away,  only  to  find,  when  he  wants 
to  refer  to  them,  that  they  are  not  of  the  slightest  use. 

Everything  that  Keene  did  was  a valuable  record,  expressed 
in  an  artistic  fashion.  Much  credit  has  been  given  to  Keene 
and  some  of  his  contemporaries  because  they  actually  took  the 
trouble  to  go  to  Nature  for  the  backgrounds  of  their  illustra- 
tions. Frankly,  I cannot  see  that  they  deserve  great  glory 
for  doing  only  what  every  true  artist  does.  It  was  no  sur- 
prise to  me  to  find  a large  number  of  landscapes  among 
Keene’s  unpublished  drawings.  One  has  only  to  look  at  the 
moors  and  meadows  and  hills  that  stretch  away  beyond  his 
gillies  and  rustics  and  sportsmen  to  be  sure  they  were  never 
faked.  But  I was  amazed  at  the  beauty  and  perfection  of 
execution  he  put  into  these  sketches.  Some  drawn  with  a pen 
in  old  sketch  books,  often  on  a nasty  blue  paper,  are  delicate 
and  exquisite  to  a degree  that  makes  me  fear  they  must  ever 

remain  single  works  of  art,  so  entirely  are  they  beyond  the  possibility  of  any  method 
of  reproduction.  However,  there  was  another  means  of  expression  capable  of  even 
greater  delicacy  and  refinement,  with  the  multiplication  of  a design  as  its  chief  end,  of 
which  Keene  was  master — etching.  His  few  plates  are  as  varied  in  subject  as  his 
drawings.  Landscapes,  Langham  models,  portraits — all  these  he  drew  with  his  needle. 
But  from  most  of  his  plates  so  few  proofs  have  been  printed  that  his  etchings 
practically  have  escaped  even  the  dealer  and  the  collector. 

The  unpublished  drawings  may  be  arranged  under  several  different  heads.  I do 
not  propose  to  classify  them  according  to  date,  because  dates  are  rarely  given,  and  without 

17 


THE  WORK  OF  CHARLES  KEENE. 


dates  any  classification  according  to  time  would  not  be  possible.  The  drawings  them- 
selves offer  no  clue,  Keene’s  style,  once  he  had  perfected  it,  scarcely  changing  from  the 
beginning  until  he  ceased  to  make  those  elaborate  pen-drawings,  many  years  evidently 
before  his  death.  It  is  true  there  was  a period  of  tightness,  probably  when  he  first 
attended  the  Langham  Sketching  Club.  But  this  quickly  disappeared  ; and  afterward, 
save  from  the  fashions  in  dress,  it  is  out  of  the  question  to  tell  to  what  years  the  different 
drawings  belong,  unless,  indeed,  they  are  found  under  some  other  form  in  Punch , when 
an  approximate  date  may  be  arrived  at. 

But  dates  are  of  comparative  unimportance,  and  the  drawings  which,  in  a way,  can 
most  appropriately  be  considered  first,  are  the  life  studies — studies  from  the  nude.  Where 
they  were  made,  whether  at  his  own  studio  or  in  a life  class,  I have  no  means  of  deciding. 
His  letters  throw  no  special  light  on  the  subject.  The  drawings  are  owned  chiefly  by 
the  South  Kensington  Museum,  where  they  are  bound  up  in  a small  portfolio.  These 
do  vary  in  their  style  of  handling.  One  or  two  are  evidently  boyish  efforts,  for  they 
are  hard,  and  tight,  and  square,  and  almost  wooden,  with  scarce  a suggestion  of  the  later 
freedom  and  breadth  of  his  style.  Others  are  as  obviously  very  much  more  mature 
work,  the  softness,  the  roundness,  the  fleshiness  of  flesh  being  wonderfully  rendered  with 
a pen.  And  then,  too,  among  them  is  a study,  a most  amusing  thing,  of  a fat  man 
whom  he  often  used  as  a model — clothed  naturally — for  the  Punch  drawings.  They  are 
all  frankly  for  practice,  for  study.  In  them  is  no  attempt  to  make  a picture  of  the  model, 
as  in  those  by  Leighton,  no  attempt  to  produce  drawings  which  shall  be  beautiful  as 
compositions,  or  to  serve  as  arrangements  for  future  pictures.  There  is  no  formula,  as 
with  most  art  students  ; there  is  never  the  predetermined  expression  or  attitude  unmis- 
takable in  most  beginners’  work.  Each  is  a distinct  impression — for  if  any  one  was  an 
impressionist  it  was  Charles  Keene — of  the  flabby,  or  fat,  or  tired,  or  swaggering,  or 
bored  model,  before  him.  He  used  the  same  models  over  and  over  again,  one  of  them, 
it  is  amusing  to  see,  a woman  of  the  type  drawn  repeatedly  by  Etty  and  Mulready  ; a 
plump,  heavy,  ungraceful,  clumsy  sort  of  female  animal,  sagging  and  flopping  and  sprawling 
about— the  real  early  Victorian  woman,  innocent  of  all  elegance  and  grace  and  distinction. 
She  must  have  sagged  and  flopped  and  sprawled  when  she  posed  for  Etty  and  Mulready, 
but  in  their  work  is  little  to  show,  whether  or  no,  they  saw  that  she  did.  There  is  no 
mistaking  that  Keene  did  see  her  as  she  was,  not  as  he  fancied  she  would  look  well,  on 
paper  or  canvas.  Critics  who  say  that  Keene  could  not  draw  a lady  or  a beautiful  face, 
meaning  that  he  did  not  draw  conventional  fashion  plates,  will  turn  to  these  life  studies 

1 8 


THE  WORK  OF  CHARLES  KEENE. 


as  additional  proof.  But  others  will  think  they  prove  nothing  more  than  that  Keene  drew 
the  faces  which  his  models  happened  to  have  been  given  by  Nature.  If  a model  has  a 
fine  figure  it  does  not  follow  that  she  must  have  a beautiful  face.  Keene  in  his  nudes 

paid  as  much  attention  to  the  face  as  to  the  figure  ; and  often  his  record  of  the  combina- 

tions arranged  by  Nature  is  too  true  to  be  beautiful  in  the  eyes  of  those  who  cannot  see 
beauty  in  the  old  men  of  Rembrandt,  the  dwarfs  of  Velasquez,  or  the  ballet  girls  of 
Degas.  Perhaps  at  the  Langham  he  made  many  more  similar  studies.  But  I am  writing 
only  of  the  few  I have  seen  or  own  — all  characteristic — nor  does  my  introduction 
pretend  to  be  an  iconography. 

Mr.  Layard  speaks  of  Keene’s  acquaintance  with  Millais  and  Mr.  Holman  Hunt, 
and  the  chances  are  he  knew  Rossetti.  But  remembering  his  objection  to  what  he 
called  the  “ Gurgoyle  School,”  I was  unprepared  to  discover  that  in  certain  of  his  un- 
published drawings  he  was,  if  not  influenced  by  the  Pre-Raphaelites,  using  their  models, 
with,  as  result,  a series  of  pencil  studies  of  female  heads  that  remind  one  of  Millais  or 
of  Mr.  Holman  Hunt  at  his  very  best.  With  no  group  of  artists  could  he  have  had 

less  in  common,  at  least  in  choice  of  subject  ; he  caring  above  all  for  the  romance  of 

the  every-day  life  and  people  about  him,  the  Pre-Raphaelites  seeking  romance  in  litera- 
ture or  the  past.  And  yet,  two  or  three  drawings  I have  included  look  as  if  they 
had  been  inspired  by  Millais’  “ Isabella  ” at  Liverpool.  But  I am  so  sure  of  Keene’s 
unfailing  truth  and  realism  that  to  me  they  merely  confirm  my  belief  that  the  Pre- 
Raphaelites,  or  rather  Mr.  Holman  Hunt  and  Millais,  were  tremendous  realists.  However, 
should  I venture  to  assert  that  Rossetti,  Mr.  Holman  Hunt,  and  Millais  had  been  influenced 
by  Keene,  I know  what  an  outcry  there  would  be  from  critics  who  think  it  dims  the 
greatness  of  an  artist  to  hint  that  he  had  looked  at  any  work  but  his  own.  No  doubt 
I should  be  assured  that  the  Pre-Raphaelites  never  as  much  as  knew  of  Charles  Keene’s 
connection  with  Punch , and  much  honour  would  be  attributed  to  them  for  their  igno- 
rance. But  whatever  critics  may  think,  Keene  was  so  true  an  artist  that  he  could  afford 
to  admit  there  were  artists  beside  himself  in  the  world,  and  he  was  not  too  stupid, 
too  pigheaded,  too  insular,  to  study  them,  to  admire  them,  to  imitate  them. 

It  may  be  well,  before  going  further,  to  insist  upon  his  intelligent  interest  in  the 
work  of  other  distinguished  draughtsmen.  Menzel  to  him  was  always  the  “ great  German 
artist,”  whom  all  his  life  he  had  “ set  up  as  the  great  master  in  Europe,”  and  Chodo- 
wiecki,  in  whose  track  he  thought  Menzel  a follower,  appealed  to  him  no  less.  His 
collection  of  the  older  illustrator’s  prints  was  large  at  a time  when  few  Englishmen  could 


i9 


c 


THE  WORK  OF  CHARLES  KEENE. 


have  told  who  Chodowiecki  was.  “ Ed  bet  that  four  British  R.A.’s  out  of  seven  would 

not  know  his  name,”  was  Keene’s  way  of  putting  it  ; and  they  would  not  to-day.  For 

Stothard’s  unsigned  contributions  to  the  magazines — there  was  no  mistaking  Stothard’s 
“ fist,”  he  thought — he  was  ever  on  the  look  out.  Bewicks,  too,  he  collected  in  a mild 
way.  Toward  the  end  of  his  life  he  subscribed  to  Fliegende  Blatter.  Often  at  first 
his  admiration  was  practically  expressed  in  his  own  drawings.  I have  reproduced  on 
page  141  a study  in  Indian  ink  of  a military  subject  which,  in  his  every  touch,  in  his 

arrangement,  in  his  effect,  follows  the  lithographs  of  Raffet  as  closely  as  it  is  possible 

to  follow  them.  The  drawing  was  done,  Mr.  Henry  Keene 
tells  me,  as  a study  for  his  own  pleasure,  because  he  liked 
soldiers.  What  would  npt  one  give  to  see  some  of  the 
original  designs  on  the  wood  block,  butchered  to  make 
an  Illustrated  News  ? When  I have  looked  through  the 
numbers  of  that  paper  published  during  the  years  he  drew 
for  it,  I am  unable,  save  in  a few  instances,  to  recognise 
which  were  his  contributions,  so  completely  could  the  wood 
engraver  adapt  a design  to  the  Illustrated  News  audience, 
an  audience  always  superior  to  considerations  of  art.  Even 
the  rare  drawings  to  which  his  name  is  signed  would  never 
otherwise  be  attributed  to  him. 

The  wash-drawing,  so  reminiscent  of  Raffet,  is  not 
Keene’s  only  experiment  in  that  medium.  One  or  two 
others  are  reproduced  here.  There  are  many  in  the  style  of  Cattermole’s  drawings  and 
lithographs,  though  very  much  smaller,  and  they  have  a charm  that  is  due  to  Keene  rather 
than  to  the  men  copied.  In  Mark  Lemon’s  Jest  Book  there  are  several  wash-drawings, 
and  at  times  one  might  think  he  had  taken  as  model  for  them  the  tile  of  the  South 
Kensington  Grill  Room  ; they  might  be  called  decorative  were  they  not,  like  those 
decorations,  so  bad.  Charles  Keene  was  never  very  successful  in  what  nowadays  is 
called  decorative  drawing,  unless  the  realistic  initials  and  head  and  tailpieces  he  was 
for  ever  doing  are  to  be  considered  decorative.  His  rare  attempts  were  simply  the 
worst  things  he  ever  did  in  his  life,  and  it  is  not  in  them  I would  seek  the  qualities 
or  characteristics  that,  as  I have  said,  show  him  in  sympathy  with  the  Pre-Raphaelites. 
Mr.  Walter  Crane  is  of  the  opinion  that  his  illustrations  to  Charles  Reade’s  Good 
Fight  are  marked  by  a feeling  for  the  decorative  effect  of  the  old  German  woodcut. 


20 


THE  WORK  OF  CHARLES  KEENE. 


To  me  they  seem  little  more  decorative  conventionally  than  the  headpieces  which 
Sir  John  Tenniel  was  contributing  to  the  same  magazine  at  the  same  time.  As  to 
the  primitiveness,  is  it  not  expressed  almost  as  obviously  in  Leech’s  drawings  ? The 
Good  Fight , moreover,  was  a mediaeval  story,  and  Keene  was  careful  enough  to  try  to 
give  it  a mediaeval  character.  The  tables,  the  chairs,  the  architecture,  the  costumes, 
the  style  of  the  drawing,  are  all  quite  in  keeping  with  the  period — that  is,  in  the 
beginning — up  to  page  151  of  the  first  volume  of  Once  a Week.  After  that  the  primi- 
tiveness dwindled,  disappeared  altogether  with  the  completion  of  the  story.  Keene, 

doubtlessly,  would  have  been  more  astonished  than  any  one  had  he  been  told  his  drawings 
were  conventionally  decorative,  when  all  he  had  tried  to  do  was,  as  an  honest  illustrator 

with  a conscience,  to  read  the  MS.  intelligently,  and  to  the  best  of  his  ability  make  his 

illustrations  harmonise  with  it.  His  drawings  for  Evan  Harrington  in  the  very  next 
volume  are  as  modern  as  Mr.  Meredith’s  novel  ; and  there  was  not  afterward  the  slightest 
suspicion  of  a relapse  into  medievalism,  except  in  1865,  when  apparently  he  proposed 
to  use  a medieval  subject  in  the  decorations,  never  painted,  of  Mr.  Birket  Foster’s 

summer-house. 

A small  proportion  of  Keene’s  drawings  are  in  colour.  Many  of  the  designs  are 
excellent.  Little  studies  made,  I believe,  at  Woolwich  are  full  of  life  and  go,  and  the 
Langham  sketches — costume  and  nude  models — are  admirable  of  their  kind.  Some- 
times he  gives  little  more  than  a tinted  drawing  on  grey  paper,  an  old-fashioned  method 
that  might  be  revived  with  advantage.  Again,  others  are  put  in  with  big,  bold,  simple 
masses  without  any  hesitation.  But  still  others  are  stippled  and  elaborated  to  such  a 
degree  that  one  begins  to  fear,  had  he  persevered,  the  world  would  but  have  gained  a 
second  William  Hunt  and  lost  an  original  artist.  Some  larger  renderings  of  his  studio 
and  other  rooms  are  delightfully  quiet  in  tone  and  simple  in  arrangement.  The  Langham 
studies  of  men  in  armour  and  costume  are  admirable.  There  are  little  heads  so  full 
of  character  and  so  good  technically  that  they  alone  should  give  him  high  rank  as  a 
painter  in  water-colours — a medium  in  which  his  work  was  never  known,  though 
that  of  men  far  his  inferiors  was  lauded  to  the  skies,  and  bought  by  royalties  and 
struggled  for  by  collectors.  I know  of  only  two  or  three  works  in  oil*  by  him,  but  I 
have  seen  a few  in  distemper — one  example,  owned  by  Mrs.  Edwards,  having  been 
done,  like  so  much  else,  at  the  Langham.  It  was  in  distemper,  too,  that  he  meant 
to  paint  the  never-painted  mediaeval  pictures  on  the  walls  of  Mr.  Birket  Foster’s  summer- 

* Mr.  Heseltine  has  a portrait  in  oils. 

21 


C 2 


THE  WORK  OF  CHARLES  KEENE. 


house  ; for  that  there  was  a moment  when  his  preoccupation  with  this  medium  was 
very  great  his  long  letters  of  instruction  to  Mr.  Edwards  are  the  proof. 

He  did  a few  charcoal  drawings.  Mr.  Henry  Keene  has  informed  me  that  these 
have  never  been  shown  anywhere.  As  I look  at  them,  I read  in  every  line  and  touch 
the  influence  of  Menzel,  which  he  would  have  been  eager  and  proud  to  acknowledge. 
And  I realise  also  that  they  are  not  surpassed  by  Menzel’s  drawings  in  the  same 
medium,  that  they  are  no  less  varied  in  subject  and  execution.  The  eighteenth-century 
arrangement  is  done  in  straightforward,  simple  fashion  with  the  point  of  the  charcoal, 
but  the  other,  a King  Charles  in  hiding  I imagine,  has  been  worked  out  most  elabo- 
rately. Had  Keene  in  the  pages  of  Punch  been  able  to  take  advantage  of  the  mechanical 
methods  of  reproducing  tone  work,  the  world,  I am  sure,  would  have  been  richer  by 
innumerable  charcoal  drawings.  Had  he  had  the  chance  he,  like  Menzel,  would  have 
been  quick  to  avail  himself  of  photo-engraving,  which  so  increases  the  variety  of 
methods  at  the  service  of  the  illustrator.  It  is  said,  in  fact,  that  in  his  few  experiments 
for  process  he  was  greatly  pleased  with  the  results.  There  is  no  question  of  his  plea- 
sure in  working  with  charcoal.  But  what  could  Punch  have  got  out  of  such  designs 
by  wood  engraving  ? 

Of  course  there  are  endless  studies  in  crayon  and  chalk  and  pencil,  the  studies 
which  all  artists  make,  but  I see  no  reason  to  refer  to  them  separately.  There  are  still, 
however,  his  etchings  to  be  spoken  of  before  one  comes  to  the  bulk  of  his  life  work. 

Artists  who  could  appreciate  Keene  knew  that  he  had  produced  a series  of  etched 
plates,  but  they  probably  might  not  have  been  able  to  tell  you  how  many  of  these 
there  were.  M.  Beraldi  catalogues  twenty,  while  Keene  himself  was  so  delightfully 
vague  that  he  seemed  to  think  there  were  only  about  a dozen,  too  few  to  be 
catalogued  seriously.  “ I am  amused  at  the  idea  of  putting  me  down  as  a Graveur 
du  XIXe  Siecle ,”  he  wrote  to  Mrs.  Edwin  Edwards  in  a letter  quoted  by  Mr.  Layard. 
“ I have  only  scratched  a few  studies  or  sketches,  not  more  than  a dozen  all  told,  I 
should  think — the  merest  experiments  ! Titles  they  have  not.  To  save  my  life  I 
couldn’t  tell  the  dates,  and  as  to  writing  my  life-story,  ‘ God  bless  you,  sir,  I’ve  none 
to  tell.’  A quotation  to  that  effect.  The  most  stirring  incidents  in  my  life  are  a 
visit  to  the  dentist  (date  forgotten)  and  certain  experiences  of  the  last  few  days.  Try 
and  choke  the  French  biographer  off.” 

Little  as  was  the  help  Keene  gave  him,  M.  Beraldi  managed  to  make  out  a list 
of  twenty  plates.  Bracquemond  was  moved  to  enthusiasm  and  rapture  when  he  saw 


THE  WORK  OF  CHARLES  KEENE. 


them  : “ Par  la  liberty  Vampleur  de  leur  dessin  et  de  /ear  execution , ces  gravures  doivent  etre 
classees  parmi  les  eaux  fortes  modernes  du  premier  or  dr  el"  I do  not  pretend  that  the  longer 
list  is  final,  but  after  looking  in  the  albums  of  collectors  and  the  British  Museum  I find 
that,  not  counting  those  he  contributed  to  the  Pocket  Books , he  etched  thirty  plates. 
Only  two  have  ever  been  published.*  The  first  was  issued  by  the  Junior  Etching  Club 
in  1862,  and  was  called  The  Plague , a subject  which  the  next  year  Mr.  Shields  was 
to  make  use  of  to  such  fine  purpose  in  illustrating  Defoe.  Keene’s  plate  is  not  by 
any  means  satisfactory  ; it  is  black  and  over-bitten,  and  badly  printed  in  all  the  copies 
I have  seen.  It  shows  a cavalier,  with  a cloak  held  close  over  his  mouth,  passing 

hurriedly  through  the  empty  streets  of  the  pest-stricken  town.  The  other,  much  later 

in  date,  is  Southwold  Pier , printed  in  the  Etcher  for  March,  1881.  Twenty-four  plates 
of  more  or  less  varying  merit  have  disappeared,  and  unfortunately  Mr.  Henry  Keene 
and  Mrs.  Edwards  know  of  no  one  who  has  a complete  set  of  proofs.  The  remaining 
four  plates  are  still  in  existence.  Two  owned  by  Mrs.  Edwards  are  portraits  of  herself 
and  her  husband.  Two,  in  the  possession,  I believe,  of  Mr.  Keene,  are  landscapes, 
or  rather  land  and  seascapes  at  Dunwich,  the  “ charming  lonely  place  ” where  Keene 
used  to  take  his  beloved  bagpipes  to  the  beach  “about  10  p.m.,  when  the  populace 

were  asleep,  and  skirl  away  by  the  sad  sea  waves  for  an  hour  or  so” — the  “poor  old 

Dunwich  ” of  so  many  of  Fitzgerald’s  letters.  Church  and  beach  were  done  on  the 
same  plate,  which  was  then  cut  in  half,  but  they  were  never  finished,  and,  more  im- 
portant, they  are  not  successful  enough,  as  far  as  he  carried  them,  to  represent  him 

worthily.  Therefore,  as  Mrs.  Edwards  objects  to  have  the  portraits  published,  I am 
unable  to  give  prints  from  any  of  the  original  plates. 

The  etchings  may  be  grouped  under  four  heads  : studies  at  the  Langham  and  from 
models,  portraits,  landscapes,  and  one  humourous  subject.  As  with  his  drawings,  it  is 

impossible  to  trace  any  progress,  any  development.  They  are  the  work  of  an  accom- 

plished artist,  with  whom  etching  was  but  another  responsive  medium.  If  three  or 
four  are  not  successful  it  is  because  they  were  meant  to  be  elaborated,  to  be  carried 
much  further,  and  without  the  intended  elaboration  they  are  simply  uninteresting. 
Keene  may  have  become  tired,  may  have  been  dissatisfied,  but  for  one  reason  or  another 
he  did  not  go  on  with  them.  They  must  not  be  confused  with  sketches  ; they  are 
frankly  designs  but  half  worked  out,  and  then  thrown  aside  by  the  artist. 

Among  the  Langham  studies  the  model  with  the  ’ cello  is  the  most  distinguished. 

* Mr.  Chesson  has  found  another;  see  Catalogue  of  Etchings. 

23 


THE  WORK  OF  CHARLES  KEENE. 


Though  in  subject  it  might  suggest  Meissonier,  in  handling  there  is  a suppleness  and 
a painter-like  quality  of  line  that  the  more  notorious  artist  never  approached  in  his  life. 
And  it  is  astonishing  that  a man  who  etched  so  little  had  such  a command  of  the 
richness  and  depth  of  colour  to  be  obtained  from  a copper  plate.  This  and  the  woman 
in  the  costume  of  Elizabeth,  seated,  at  her  side  a lute,  in  a corner,  the  head  of  an  artist 
leaning  over  his  drawing,  are  both  signed,  so  I suppose  Keene  considered  them  finished, 
and  was  pleased  with  them.  A third  is  a study  of  costume,  presumably  of  Henry  VIII. ’s 

time,  though  it  scarcely  seems  to  belong  accurately  to  any 
one  period.  It  is  clear  that  the  man  has  been  drawn  for 
the  sake  of  the  dress,  but  the  figure  is  dignified  and  firm, 
the  design  altogether  complete.  Two  or  three  more  of  the 
Langham  sketches  are  very  similar  to  these.  In  one  the 
model  is  at  an  open  window,  and  the  evident  dramatic 
intention — the  man,  who  has  been  shot,  is  falling  over 
backward — explains  that  the  illustration  of  a story  or  of 
some  historical  event  has  been  the  subject  of  the  sketch 
competition.  That  Keene  delighted  in  costume  for  its  own 
sake,  the  stories  of  the  wonderful  collections  in  his  studio 
prove.  But  I find  the  costume  arrangements — I except  the 
man  with  the  ’ cello , if  indeed  it  is  to  be  classed  with  them 
— of  less  interest  than  the  character  studies,  which  are  merely 
other  versions  of  his  drawings  done  with  a needle  instead  of 
a pen.  Surely  there  is  not  more  character  in  his  waiters 
and  cabbies,  than  in  the  little  old  man  standing  before  the 
studio  stove  on  which  a kettle  boils,  while  there  is  the  same 
care  he  always  gave  to  the  backgrounds  of  his  drawings  in  the  way  he  has  suggested  the 
carved  oak  chest  beyond  and  the  bench  on  which  he  himself  used  to  sit  and  work.  It 
is  curious  to  note  that  the  artist  has  written  on  the  plate  the  number  of  bitings,  and  the 
time  which  each  took.  The  same  grim,  solemn  old  man  in  a frock  coat  and  top  hat,  no 
doubt  studio  properties,  reappears  in  a large  plate,  which,  however,  was  underbitten,  and 
then  never  worked  on  again.  I have  also  found  a plate  evidently  done  at  the  Langham — 
two  studies  of  a nude,  bearded  man  carrying  a water  pot  or  a jug  on  his  shoulder.  On 
the  left  is  a half-length  figure,  while  the  right  is  taken  up  by  a full-length  drawing  of 
the  same  model.  This  is  the  only  print  I have  ever  seen,  and  it  is  possibly  unique. 


24 


THE  WORK  OF  CHARLES  KEENE. 


But  of  all  his  etchings  none  can  surpass  the  portraits.  The  finest,  I think,  is  one  of 

Edwin  Edwards  seated  in  a garden  chair,  under  a tree,  reading  a book.  The  way  the 

man  sprawls  at  his  ease,  as  Keene  had  probably  seen  him  sprawl  hundreds  of  times,  is 

wonderfully  expressed  with  the  finest  and  most  eloquent  lines.  Keene  had  no  dearer 

friends  than  Mr.  and  Mrs.  Edwards,  at  whose  house  in  Dunwich  many  of  his  holidays 
were  spent,  so  that  it  is  no  surprise  to  come  upon  a second  portrait  of  Mr.  Edwards,  this 
time  painting,  and  a charming  study  of  Mrs.  Edwards,  she  also  seated  in  the  garden,  her 
white  cap  telling  with  good  effect  against  the  darkish  background.  No  less  charming  is 
the  portrait  of  another  lady — Mrs.  Heseltine,  perhaps,  or  Mrs.  Birket  Foster — on  a lounge 
in  front  of  a richly  figured  wall-paper.  In  this,  even  the  old-fashioned  bell-pull,  even 
the  picture  on  the  wall  as  in  Mr.  Whistler’s  portrait  of  his  mother,  become  important 
in  the  wonderful  scheme  of  decoration,  and  the  colour  is  richer,  more  effective,  more 
deliberately  introduced  as  an  essential  quality  than  is  the  rule  in  his  plates.  This  is 
unsigned.  There  are  several  other  etchings  of  people  reading  or  working,  and  three  or 
four  which  might  be,  or  might  not — it  is  now  hard  to  ascertain — Langham  studies  ; 
or,  like  the  Calais  fisherwoman  in  her  big  fluted  cap,  subjects  which  he  came  across 
during  his  rare  journeys  on  the  Continent,  not  one  lovelier  than  the  female  figure  seated 
reading  a book,  and  dressed  in  the  great  voluminous  skirts  of  the  sixties,  held  out  by  the 
swaying  crinoline  which  Mr.  Morris  would  have  had  us  believe  is  not  beautiful,  which 
Mr.  Whistler  and  Millais  and  Boyd  Houghton  have  shown  us  was  far  more  graceful 
than  the  shapeless  draperies  of  a later  aesthetic  generation.  Their  drawings  and  Keene’s 
etchings  will  endure.  The  opinion  of  Morris  when  confronted  with  them  must  prove 
but  empty  words.  Were  it  necessary  again  to  refute  the  oft-refuted  assertion  that 
Charles  Keene  could  not  draw  a beautiful  face  or  a graceful  woman,  his  etchings  would 
be  more  ample  proof  that  he  could  than  anything  I might  say.  He  drew,  painted,  or 
etched  the  women  about  him,  whether  they  were  beautiful  or  not.  That  he  did  not 
become  a tiresome-mannered  conventionalist  like  Du  Maurier  is  fortunately  true — some- 
thing to  be  thankful  for.  If  the  last  insipid  prettiness  of  Du  Maurier  is  prized  above  the 
masterly  realism  of  Keene,  or,  more  blindly,  above  Du  Maurier’s  own  early  drawings, 
what  else  is  to  be  looked  for  from  a world  that  prefers  the  Kailyard  to  Literature  ? 

Keene  used  to  say  that  a man  who  could  draw  anything  could  draw  everything. 
To  understand  how  true  this  was  of  himself  you  have  but  to  turn  from  the  portraits 
to  the  landscapes,  the  bits  of  sea-shore,  the  old  houses.  Who  was  first  responsible 
for  the  striking  similarity  in  the  styles  adopted  by  Whistler  and  Keene  and  Millais 

25 


THE  WORK  OF  CHARLES  KEENE. 


and  Du  Maurier  and  William  Small  in  the  etchings  and  drawings  of  the  late  fifties  and 
early  sixties  I do  not  know  ; and  Mr.  Whistler  has  told  me  that  he  does  not.  If 

Mr.  Whistler’s  Thames  Series , if  his  figures  are  perfect,  are  a little  better — -just  the  little 

better  that  makes  all  the  difference — than  Charles  Keene’s,  still  Keene’s  landscapes,  his  Loch , 
his  Pier  at  Southend , the  marvellous  study  of  boats  on  the  shore  at  Seaton,  South  Devon, 
are  not  to  be  ranked  below  the  Unsafe  Tenement  or  the  Black  Lion  Wharf.  They  have  not 
quite  Mr.  Whistler’s  suggestiveness  of  line,  not  quite  the  apparent  freedom  in  the  touch. 
But  everything  is  right,  and  it  is  amazing  that  they  have  been  so  long  ignored.  Even 
from  the  dealer’s  point  of  view,  they  are  of  extraordinary  value  because  of  their  rarity. 

The  one  humourous  plate  is  done  more  in  the  manner  of  a pen-drawing,  and,  with 
great  breadth  and  vivacity,  represents  a gendarme , booted,  spurred,  and  armed,  bumping, 
clattering,  and  rattling  down  a French  highroad.  It  is  a happy  record  of  momentary 

action  which  Charles  Keene,  more  supremely  well  than  any  other  English  artist,  could 

see  and  seize  and  fix  for  ever.  True  it  is  funny,  for  a French  gendarme  is  rather  funny 
to  look  at  ; though  so,  too,  for  that  matter,  is  an  English  judge.  Keene  has  etched 
him,  not  with  the  brutal  ignorance  of  Leech  depicting  a Frenchman,  but  with  the  gay, 
kindly  fun  of  a man  who  could  appreciate  all  that  was  humourous  in  this  bumping, 
lumbering,  rattling  embodiment  of  the  majesty  of  the  law,  fulfilling  his  duty. 

With  this  plate  I come  to  the  last  of  Keene’s  etchings — not  very  many  compared 
to  the  hundreds  that  can  be  claimed  by  most  modern  etchers.  But  art  is  not  measured 
by  quantity;  and  to  examine  the  little  series  carefully  is  to  agree  with  M.  Bracquemond, 
that  Keene  will  henceforth  be  ranked  with  the  great  etchers  of  all  time. 

But  Keene’s  drawings  in  colour  or  in  wash,  his  charcoal  studies,  and  his  etchings 
were  done  but  for  his  own  diversion,  his  own  pleasure,  or,  as  in  the  case  of  the  wash- 
drawings  for  the  Illustrated  News  and  early  books,  to  meet  the  special  want  or  directions 
of  his  editors  and  publishers.  His  chief  work  really  was  in  pen-and-ink.  But  his  pen- 
and-ink  drawings  must  also  be  classified,  falling  naturally  into  two  divisions  : First,  the 
studies  which  were  complete  works  of  art  in  themselves,  drawn  with  no  thought  of  the 
engraver,  comparatively  few  having  ever  been  seen  save  by  friends  and  visitors  to  his 
studio  ; second,  the  preparatory  sketches  and  studies  and  the  finished  drawings  made 
expressly  for  use  in  Punch. 

When  the  Keene  Exhibition  was  held  at  the  Fine  Arts  Society  a few  years  since, 
besides  the  more  familiar  Punch  designs  on  the  walls,  there  were  portfolios  containing  a 
limited  number  of  pen-and-ink  drawings  of  figures — mostly  single  figures — and  of  land- 

26 


THE  WORK  OF  CHARLES  KEENE. 


scapes,  done  with  a touch  so  delicate  and  so  refined  that  no  wood-engraver,  unless  he 
were  a master  like  Timothy  Cole,  could  have  engraved  them  on  the  wood-block  ; at  any 
rate,  no  Englishman  ever  did.  Many  are  studies  of  models  posed  at  the  Langham  or 
in  his  own  studio  ; many,  like  the  etchings,  are  portraits  ol  his  friends.  Others  are 
drawings  of  landscape  and  architecture,  which,  whether  or  not  intended  to  serve  as  back- 
grounds for  Punch  drawings,  are  unquestionably  complete  and  perfect  in  themselves. 
A few  are  renderings  of  foliage  or  of  foregrounds.  Almost  all  the  landscapes  are  as 
English  in  subject  as  his  illustrations.  Hever  Castle,  Southwold  Pier,  Warbleswick, 
Whitley,  Godaiming,  and  now  and  again  the  lower  river,  are  his  favourite  sketching 
grounds,  the  scenes  he  knows  best.  True,  there  are  also  Scotch  Moors,  occasional  notes 
on  the  Continent,  and  one  Venetian  drawing  distinguished  for  its  carelessness.  But  as 
some  of  the  sketches  were  given  away — he  liked  friends  rather  than  strangers  to  have 
his  sketches — some,  as  his  brother  tells  me,  he  used  to  light  pipes  with,  it  is  impos- 
sible to  assert  positively  that  he  did  little  of  importance  on  the  Continent  or  out  of 
England.  Mr.  Layard  has  reproduced  several  English  drawings,  and  Mr.  Stacy  Marks 
has  given  his  reminiscences  of  the  holidays  of  which  many  others  were  the  result.  Those 
I have  seen  were  mostly  in  sketch-books,  made  with  a small  steel  pen,  and  usually  with 
pure  black  or  slightly  browned  ink,  which  he  carried  in  an  exciseman’s  bottle  hung 
from  his  waistcoat  button.  Mr.  Stacy  Marks  says  that  he  drew  straight  away  in  ink, 
“ without  any  preliminary  pencilling,  as  a means  of  obtaining  certainty  and  sureness  of 
hand.”  He  was  very  particular  in  selecting  the  sketch-books,  which  were  of  old 
Whatman  or  thin  white  paper,  or  of  that  pale  blue  used  by  our  fathers  for  correspond- 
ence. Again,  I cannot  say  whether  Mr.  Whistler  or  Millais  or  Du  Maurier  or  Keene 
or  Mr.  William  Small  first  adapted  the  methods  of  etching  to  pen  and  ink.  But  there  is 
no  doubt  that  they  all  did  draw  as  they  would  have  etched,  and  etched  as  they  would 
have  drawn.  Mr.  Whistler’s  illustrations  for  wood-engraving,  not  more  than  four  or 
five  in  number,  and  all  published  in  Once  a Week  and  Good  Words , were,  1 believe, 
done  mainly  with  a hard  lead  pencil  in  much  the  same  way,  and  yielding  much  the 
same  effect,  however,  as  if  he  had  used  a pen.  In  many  of  Du  Maurier’s  early  Punch 
drawings  are  traces  of  this  same  refinement  and  delicacy  of  handling  ; but  whether  they 
were  as  distinguished  in  the  originals  as  Keene’s  there  is  now  no  possible  way  of 
judging,  for  they  were  drawn  on  the  block,  and  hence  disappeared  in  the  engraving. 
In  Millais’  Framley  Parsonage  for  the  Cornhill , in  Rossetti’s  St.  Cecilia  for  the  Palace 
of  Art , also,  there  has  survived  at  least  an  indication  of  the  same  exquisite  line-work 


27 


D 


THE  WORK  OF  CHARLES  KEENE. 


which  the  wood-engraver  and  the  printer  could  not,  or  would  not,  follow.  But  curiously 
the  artist  whose  drawings  future  generations  will  value  as  highly  as  Mr.  Whistler’s 
etchings,  developed  a much  bolder  style  when  he  came  to  design  on  the  wood  block. 

And  this  brings  me  at  last  to  Keene’s  illustrations.  Now  the  illustrator  has  to 
concern  himself  not  only  with  the  quality  of  his  drawing,  but  its  adaptability  to  repro- 
duction, and  his  work,  therefore,  must  be  judged  according  to  quite  another  standard. 
If  I praise  Keene  the  illustrator  enthusiastically,  as  I propose  to  praise  him,  it  must 

not  be  thought  for  that  reason  I would  exalt  him  above 
such  masters  of  illustration  as  Menzel  and  Vierge.  Let 
me  explain.  No  one  can  now  say  how  well  or  how  badly 
Menzel’s  drawings  for  the  Frederick  the  Great  and  the  other 
books  of  the  same  period  were  engraved  by  Kreutzmar, 
Bentworth,  Unzelmann,  and  the  Vogels,  since  the  drawings 
were  made  upon  the  wood  and  engraved  all  to  pieces. 
But  for  some  years  Menzel  has  given  up  w 
wood-engraver,  and  we  know  that  his  drawings,  when 
reproduced,  if  reproduced  at  all,  by  lithography  or  mechanical 
engraving,  come  admirably,  losing  little  in  the  process. 
Vierge  made  the  illustrations  for  Pablo  de  Segovia  in  pen- 
and-ink  expressly  for  the  photo-engraver,  and  in  so  doing 
achieved  a triumph  of  craftsmanship,  a triumphant  union 
of  artistic  and  mechanical  knowledge  such  as,  in  illus- 
tration, had  never  been  seen  before.  Vierge  is  not,  as  he  has  been  called,  the 
father  of  modern  illustration.  He  is  not,  as  I am  told  1 have  said,  the  greatest  illus- 
trator who  ever  lived.  But  he  is  the  craftsman  of  modern  times  who  is  most  like 
the  craftsman  of  the  Middle  Ages — the  artist  who  could  deliberately  design  and  draw 
his  illustrations  so  that  the  engraver  Gillot  could  engrave  them  perfectly  and  the  printer 
Lahure  print  them  on  the  same  page  with  letterpress.  It  is  for  this  reason  I wrote, 
as  I am  glad  now  to  repeat,  that  “ if  there  have  been  any  more  artistic  drawings,  or 
engravings  of  drawings,  produced  from  the  time  of  Diirer  or  Bellini,  Rembrandt  or 
Piranesi,  I have  yet  to  find  them.  ...  In  comparison  with  Vierge,  Diirer  knows 
nothing  of  light  and  shade,  Bellini  and  Vandyck  and  Holbein  are  heavy  and  laboured 
in  their  handling,  while  Piranesi  and  Canaletto  have  but  an  historical  interest.”  Pablo 
de  Segovia  revolutionised  the  art  of  illustration,  and  created  a new  school  of  illustrators, 


orking  for  the 


THE  WORK  OF  CHARLES  KEENE. 


the  influence  of  which  is  now  felt  throughout  Europe  and  America.  I scarcely  expect 
any  one  to  understand  what  I mean,  or  to  admit  it  if  he  does.  But  I will  say  again 
what  I do  mean,  as  plainly  as  I can,  though  I have  little  doubt  that  that  part  of  the 
world  which  thinks  it  cares  about  illustration  will  continue  to  rejoice  and  glory  in  its 

ostrich-like  ignorance.  My  meaning  then  is,  that  Daniel  Vierge,  who  is  a very  great 

draughtsman,  invented  a style  of  illustration  for  books  by  drawing  with  a pen  in  Indian 
ink  on  white  drawing  paper  with  certain  sets  of  lines  in  a certain  fashion — and  you 
have  only  to  consult  Pablo  to  see  what  this  fashion  is — so  that  the  drawing  can  be 
photographed  upon  a zinc  or  copper  plate,  and  this  plate  mechanically  etched  into 

a relief  block,  which  will  print  upon  the  same  page  with  type  more  perfectly  than  by 
any  other  method  of  reproduction  yet  devised.  This  is  true  craftsmanship,  true  art,  and 
some  day  Vierge,  for  the  important  innovation  he  made  in  Pablo , will  hold  a place 
alongside  of  Albert  Diirer  and  Caxton. 

When  I consider  the  work  of  Charles  Keene,  who  in  some  ways  is  a far  greater 
artist  than  Vierge,  who  is  mainly  a realist,  while  there  is  little  realism  and  much 

grotesque  in  Vierge,  I find  not  merely  that  Keene  did  not  originate  a school,  having  had 
few  followers,  but  that  his  work,  done  with  no  other  object  than  the  illustration  of 
magazines  or  papers,  could  not,  and  even  now  cannot,  be  perfectly  reproduced  to  print 
with  type.  It  is  a curious  fact  that  Keene’s  unpublished  drawings,  executed  in  a style 
which  he  was  compelled  to  give  up  because  no  wood-engraver  could  do  it  justice, 
to-day  can  be  reproduced  mechanically  better  than  the  drawings  made  for  Punch  to  be 
engraved  on  wood.  Either  Keene  did  not  care  how  his  designs  would  look  on  the  pages  of 
Punch , or  he  did  not  know  how  to  attend  to  certain  mechanical  but  all-important  details. 
In  a word,  as  an  illustrator,  Keene  was  never,  as  Menzel  or  Vierge,  the  Master  Craftsman. 

There  was  a certain  essential  side  of  the  art  of  illustration  to  which  to  the  very 
end  Keene  was  indifferent  ; for  in  so  accomplished  an  artist,  indifference  it  must  have 
been,  rather  than  incompetence.  Whatever  the  reason,  there  is  no  denying  that  he 
set  an  impossible  task  to  the  engraver.  Therefore,  greatly  as  I admire  the  published 
engravings  after  Keene’s  work,  I must  be  allowed  to  regret  that  he  did  not  think 
more  of  the  engraver  and  the  printer.  The  prints  after  his  drawings  are  fine,  but  the 
drawings  themselves  are  amazing. 

The  truth  is,  that  in  all  the  applied  arts,  and  illustration  is  one  of  them,  the  artist 
who  wishes  a perfect  reproduction  or  multiplication  or  adaptation  of  his  design  must 
attend  to  the  technical  requirements  and  limitations  inevitably  imposed  upon  him.  1 


29 


D 2 


THE  WORK  OF  CHARLES  KEENE. 


do  not  say  that  the  illustrator  must  imitate  slavishly  the  imperfections  of  the  mediseval 
artist,  and  produce  sham  woodcuts  by  process  and  sham  art  from  his  inner  vacancy. 
We  are,  I fear,  upon  the  verge  of  a revival  of  conscious  primitiveness  and  unconscious 
ignorance  of  the  Fine  Arts  quite  unparalleled.  But  it  will  be  lived  through,  and  the 
truly  great  illustrator  will  always  be  the  man  who,  unmoved  by  fads,  the  laughing 
stock  perhaps  of  his  contemporaries,  or  the  object  of  their  final  ignorant  admiration, 
goes  his  own  way,  working  hand  in  hand  with  the  printer  and  the  engraver.  If  he 
neglects  his  fellow-craftsmen  he  is  bound  to  suffer,  even  if  it  be  only  as  Charles  Keene 
has  suffered,  by  having  his  technical  shortcomings  foolishly  exalted  into  merits. 

In  his  very  early  work  for  the  wood-engraver  you  can  see  that  Keene  was  influ- 
enced, more  or  less,  by  Leech,  whose  drawings  could  be  engraved,  I imagine,  fairly 
well.  They  were  far  bolder  and  simpler,  infinitely  less  artistic,  and  vastly  more  popular 
than  Keene’s.  I do  not  doubt  that,  in  the  beginning,  Keene  was  told  how  he  should 

draw  by  the  wood-engraver,  especially  as  he  had  served  an  apprenticeship  with  the 
Whympers.  I think  he  must  first  have  broken  loose,  have  refused  the  restrictions  they 
would  have  imposed  on  him,  in  his  illustrations  for  Evan  Harrington , so  obviously  is  he 
here  trying  to  express  himself  in  his  own  fashion,  so  unmistakably  has  the  refinement 
and  delicacy  characteristic  of  his  unpublished  drawings  survived,  though  too  often  his 
exquisite  modelling  of  a face  has  been  translated  into  the  simplest  lines  or  cut  out  alto- 
gether. Not  one  is  more  like  his  beautiful  unpublished  work  of  the  same  early  period 
than  the  design  on  page  3 75  of  Once  a Week  for  April  28th,  i860.  It  fails,  it  may  be, 
in  some  ways,  but  it  is  probably  the  best  he  ever  at  any  time  did  for  wood-engraving,* 
and  the  engraving,  probably,  is  the  most  faithful  and  sympathetic  ever  made  from  his 
drawings.  One  cannot  help  thinking  how  different  would  have  been  the  results  had  he 
worked  like  Vierge  for  the  photo-engraver.  Possibly  for  publication  by  cheap  engraving 
and  rapid  printing,  a wood-engraver  may  produce  blocks  which  will  give  the  fatness  and  the 
richness  and  the  fulness  of  some  line  drawings  better  than  process.  But  Keene’s  line  work 
was  not  originally  full  or  rich  or  fat.  It  was  exquisitely  delicate,  wonderfully  refined  ; 
it  depended  for  its  beauty  either  upon  one  line  rightly  placed,  or  a multitude  of  lines  so  subtle, 
so  close,  that  the  brutal  point  of  a graver  in  the  hands  of  an  ordinary  man  could  never 
penetrate  their  interstices.  When  the  engravings  were  the  work  of  two  or  three  engravers 
it  is  still  less  to  be  wondered  at  that  the  prints  gave  but  a faint  suggestion  of  the  drawings. 
Often  one  man,  I am  told,  did  the  face,  another  the  figure,  a third  the  background. 

* See  page  123. 

30 


THE  WORK  OF  CHARLES  KEENE. 


Keene’s  style  of  drawing  for  publication  became  bolder  and  bolder  as  time  went 
on.  For  his  own  pleasure  he  continued  to  make,  with  his  pen,  little  masterpieces, 
which  in  their  refinement  are  worthy  to  rank  with  the  etchings  of  Rembrandt  and 
Whistler.  In  his  studies,  and  he  made  innumerable  studies  for  Punch  pictures,  he  never 
varied  his  handling.  But  when  working  for  Punch  he  either  began  to  think  more  about 
the  engraver,  or  else  despaired  of  him  and  gave  him  up 
as  hopeless  ; and  that  this  latter  was  the  case  is  implied  in 
the  few  references  to  the  subject  in  his  letters.  “ They’ll 
spoil  it  in  the  engraving,  but  you  shall  have  the  draw- 
ing,” he  wrote  of  a certain  design  to  Mr.  Crawhall,  from 
whom  the  subject  had  been  obtained.  And  to  the  same 
friend  he  maintained  his  belief  “that  Bewick  was  a greater 
artist  than  wood-engraver,  and  that  he  worked  in  and 
was  hampered  by  an  ungrateful  material.  ...  We  have 
not  beaten  the  Old  Masters  of  wood-engraving  (wood- 
cutting) in  my  opinion,  but  have  tried  to  do  too  much, 
and  failed.”  Would  he  not  have  modified  this  opinion  had 
masters  like  Cole  and  Jiingling,  Florian  and  Hendrikson, 
been  his  interpreters  ? I have  seen  piles  of  proofs  covered 
with  elaborate  instructions  to  the  engraver  often  quoted  as 
evidence  of  his  great  care  for  the  work  and  his  satis- 
faction with  it.  Every  artist  does  care,  but  to  criticise 
and  advise  one’s  engravers  is  not  to  profess  oneself  satisfied 
with  their  reproductions.  All  the  refinement  which  was 
at  least  attempted  in  the  Evan  Harrington  period,  by  1866  has  vanished  from  the  Punch 
drawings.  Instead  of  the  elaborate  cross-hatching  by  which  the  modelling  and  the 
fleshy  look  of  his  faces  was  obtained,  short  straight  lines  have  been  substituted,  and 
a more  open  cross-hatching  in  the  background,  in  striking  contrast  to  the  delicate, 
beautiful,  tender  studies,  impossible  to  reproduce,  made  by  him  for  the  finished  illustra- 
tions. For  example,  take  the  Lesson  in  Perspective.  The  head  of  the  pretty  cousin,  as 
pretty  as  anything  in  English  art,  could  not  possibly  he  more  daintily  modelled.  And 
yet,  if  you  will  compare  the  three  drawings  of  this  subject  which  I am  now  publishing, 
pages  59  et  seq .,  you  cannot  fail  to  see  that  Keene  ceased  to  hope  that  the  subtleties  of 
his  drawing  could  be  preserved  by  the  wood-engraver.  In  another,  Nae  that  fou  ! it  is 

31 


THE  WORK  OF  CHARLES  KEENE. 


only  necessary  to  compare  the  gardener  in  the  finished  drawing  with  the  same  figure 
in  the  three  studies  facing  it.  See  pages  80  and  81. 

Of  course,  it  may  be  argued  that  no  one  can  now  know  whether  the  early 
engravings  gave  the  character  of  the  drawings  on  wood  more  truly  than  the  later  blocks 
reproduced  the  drawings  on  paper.  I have  no  means  of  deciding,  as  I have  never  come 
across  one  of  Keene’s  drawings  on  the  wood  unengraved.  But  I have  drawn  on  the  block 
myself,  and  I have  seen  many  drawings  on  wood — untouched  by  the  engraver,  and  still 
in  existence — by  the  artists  of  i860,  the  Golden  Age  of  English  Illustration,  and  I there- 
fore understand  how  much  the  draughtsmen  of  that  period  depended  upon  the  rosy  or 
yellowish  hue  of  the  wood  block,  which  lent  a beautiful  transparency  and  a silvery 
quality  to  their  pencil,  pen,  or  brush  lines.  I know  that  the  brush  work—  these  illus- 
trators usually  drew  in  Indian  ink  with  a brush  instead  of  a pen — sank  harmoniously 
into  the  wood,  that  washes  of  ink,  when  used,  were  translated  by  the  engraver  into 
lines,  that  Chinese  white,  wherever  possible,  was  introduced  by  the  draughtsman,  but 
that  the  engravers  then  either  cut  the  drawings  thus  made  in  simple  line,  and  printed 
them  on  white  paper,  or  translated  them  into  tone  without  any  reference  to  the  originals. 
It  may  take  years  to  convince  even  artists  that  these  drawings — that  is,  the  drawings  of 
Millais,  of  Boyd  Houghton,  of  Pinwell,  of  Walker — possess  distinct  charm  of  their  own 
which  no  wood-engraver  could  reproduce,  and  that  the  few  unengraved  which  are  still 
in  existence  are  veritable  masterpieces.  Judging  from  the  surviving  drawings  on  the 
wood  block  which  I have  seen,  Frederick  Sandys  was  the  man  of  the  i860  group 
whose  work  was  most  faithfully  reproduced,  and  the  reason  is  simple.  Mr.  Sandys  did 
think  of  the  engraver  and  the  limitations  of  the  printing  press.  He  drew  on  the  wood 
in  pure  black  line  with  a brush,  and  he  did  not  depend  at  all  upon  the  colour  of  the 
block  or  upon  Chinese  white.  He  treated  the  wood  block  as  though  it  were  a piece 
of  white  paper,  and  he  bore  in  mind  the  final  appearance  of  his  drawing  when  it 
would  be  printed  on  a piece  of  white  paper.  If  Charles  Keene  in  his  later  drawings 
on  paper  never  thought  of  the  engraver,  the  chances  are  that  his  earlier  ones  on  wood 
were  marked  by  an  equal  disregard  for  mechanical  requirements.  It  may  be  said  that 
this  showed  his  greatness,  his  independence  as  an  artist.  But  I am  afraid  it  showed 
only  his  indifference,  or  perhaps  his  certainty  that  no  engraver  could  reproduce  the 
exquisite  passages  which  he  put  into  them  and  which  the  engraver  ruthlessly  destroyed. 

His  attitude  towards  the  engraver,  in  his  drawings  on  paper,  is  a matter  of  fact,  not 
of  opinion.  After  1872  he  was  emancipated  from  the  wood  block.  He  could  make  his 


32 


THE  WORK  OF  CHARLES  KEENE. 


drawing  on  paper,  and  have  it  photographed  on  to  the  wood,  so  that  the  actual  drawing 
in  every  case  survives  to  prove  what  an  impossible  task  he  set  the  wood-engraver,  and 
also  that  if  he  did  relinquish  his  original  style  for  a more  conventional  method,  it  was 
not  because  of  any  appreciation  of,  or  sympathy  with,  his  engravers.  Only  the  most 
accomplished  wood-engravers  and  printers  could  have  rendered  his  earlier  drawings 

adequately  ; no  wood-engraver  or  printer  could  have  rendered  most  ot  his  later  drawings 
at  all.  The  first  were  done  upon  the  block,  I presume  in  black,  as  in  the  beginning 

his  drawings  on  paper  were  made  in  pure  black  or  brown  with  a pen,  or  brush  used 

as  a pen.  The  later  finished  drawings,  existing  in  hundreds,  as  well  as  the  sketches  for 
them,  almost  all  on  paper,  were  drawn  in  black,  blue,  brown,  and  red  lines,  put  down 
with  pens,  brushes,  sticks,  and  his  fingers  ; the  various  colours  and  methods  are  found 
combined  in  the  same  design,  with  very  delightful  results  for  everybody  except  the 

poor  engraver.  His  paper  alone  was  a serious  drawback  to  excellence  of  reproduction. 
He  liked  to  work  on  dirty  brown  scraps,  upon  the  backs  of  old  envelopes,  or  any  odd 
pieces,  in  which  the  texture,  the  very  imperfections,  would  add  a quality  that  was 

amusing.  And  on  these  grey  or  brown  bits,  he  drew  with  grey  watery  ink,  with  blue 
ink,  with  purple  ink  ; he  mixed  up  pencil  and  wash,  pen  and  Chinese  white,  with 

which  he  gave  modelling  and  relief  to  forms,  afterwards  to  he  photographed  on  to  the 
wood,  and  engraved  as  well  as  they  could  be  engraved,  by  Swain,  into  pure  black  outline 
blocks,  and  printed  upon  pure  white  paper.  Even  if  the  originals  were  on  white  paper, 
nothing  but  the  most  elaborate  colour  block  printing,  by  hand,  could  pretend  to  show 
the  drawing  as  it  really  is.  I myself  own  a drawing,  in  very  grey  ink  on  brown 

wrapping  paper,  that  relies  lor  much  of  its  effect  upon  touches  of  Chinese  white  and 

the  dirt  of  the  paper.  And  yet  it  was  engraved  in  pure  black  line,  and  printed  on  the 
staring  white  pages  of  Punch.  When  the  beauty  of  Keene’s  drawings  in  Punch  is 
extolled  even  by  artists  and  intelligent  critics,  it  must  be  remembered  that  it  is  really 
only  the  engravers’  translation  that  appears  on  the  printed  page.  Too  often  the  engrav- 
ings look  nothing  like  the  drawings.  It  is  the  more  remarkable  that  Keene  was  so 
loth  to  make  the  necessary  concessions,  since  he  had  gone  so  far  as  to  change  his  style 
for  the  benefit  of  the  wood-engravers.  If  not  for  their  benefit,  why  did  he  do  it  ? That 
it  was  a change  for  the  worse  I think  must  be  proved,  by  the  little  known  drawings 
done  for  his  own  pleasure,  that  are  here  reproduced. 

In  conclusion,  I should  like  to  say  a few  words  about  Keene’s  work  generally.  As 
some  one  has  written,  there  is  in  it  a wonderful  feeling  for  character,  a sense  of  move- 


33 


THE  WORK  OF  CHARLES  KEENE. 


ment  and  proportion,  and  a suggestion  of  living  things  in  living  nature.  It  is  in  this 

power  of  making  things  live  that  Charles  Keene  has  excelled,  that  he  is  the  equal  of 

any  of  the  world’s  master  draughtsmen.  Though  all  his  figures  are  studied,  they  are 
never,  in  his  finished  compositions,  mere  models  posing.  They  are  doing  what  he 

wanted  them  to  do,  and  he  has  seized  them  at  the  appropriate,  the  psychological,  the 

most  expressive  moment.  He  had  no  scheme,  as  some  one 
else  has  pointed  out,  to  which  country  and  town  must  be 
reduced,  no  formula  for  the  expression  of  day  or  night. 

The  wind  blows  across  the  moors,  and  the  sun  glints  through 
the  pine  woods,  and  falls  rightly  on  the  old  buildings  that 
he  loved  to  draw.  The  gaslight  glitters  in  the  city  restaurant, 
or  the  waves  roll  in  and  break  upon  the  shore.  For,  as  he 
himself  said,  and  the  saying  does  not  lose  by  repetition, 
“ If  you  can  draw  anything,  you  can  draw  everything.” 
You  can  even  make  the  political  cartoon  a thing  of  interest 
to  other  people  besides  those  delineated  in  it  ; and,  though  his 
few  attempts  as  cartoonist,  an  artless  expression  for  a childish 

scribble,  may  be  unintelligible  in  subject,  they  are  interesting 

in  design.  He  felt  everything  he  drew,  and  he  often  acted  his 
subjects,  and  posed  for  himself.  Frequently  it  was  impossible 
for  him  to  make  a professional  model  take  the  pose,  or  especially 
the  expression  he  wanted.  This  is  the  reason  for  the  endless 

x 

portraits  of  himself,  under  all  conceivable  sorts  of  circumstances, 
that  appear  over  and  over  again  in  his  studies  and  sketches, 
and  more  or  less  disguised  in  his  finished  drawings,  and  have  been  reproduced  as 
excellent  portraits  in  this  introduction.  Though  the  earlier  drawings  are  so  elaborate, 
and  the  later  ones,  or  the  engravings  from  them,  so  simple,  all  are  right.  His  draw- 
ings have  been  also  praised  for  their  straightforwardness,  their  economy  of  line.  I do 

not  know  whether  this  is  a merit  or  a misfortune.  But  if  to-day  the  few  Frenchmen 

who  have  seen  the  drawings  would  accept  him  as  the  equal  of  Degas,  of  Gavarni — 
and  it  was  a Frenchman,  and  no  Briton,  who  gave  him  this  place — to  me  he  is, 
as  a draughtsman,  to  be  placed  upon  the  same  plane  as  Whistler — a more  eminent,  a 
much  more  distinguished  position. 

Beauty,  his  critics  like  to  lament,  he  could  not  see  ; his  eyes,  they  think,  were  quite 

34 


THE  WORK  OF  CHARLES  KEENE. 


blind  to  it,  not  knowing  the  trouble  to  be  their  own  short-sightedness.  It  was  left 
for  one  ingenious  writer  to  put  the  general  verdict  into  words,  and  to  declare,  after  the 
artist’s  death,  that  Keene  “ failed  in  the  portrayal  of  beauty,  elegance,  respectability.  A 
pretty  woman  never  lurked  about  the  point  of  his  pencil  ” — How  could  she,  might  one 
venture  to  ask  ? — “ as  she  does  so  delightfully  about  those  of  his  principal  collaborators 
on  Punch.  His  gentlemen  are  snobs,  his  aristocracy  and  his  clerks  are  cast  in  the  same 
vulgar  mould,  and  his  brides  are  forbidding,  models  of  virtue  perhaps,  but  lacking  every 
outward  feminine  charm.”  This  is  the  real  British  critical  estimate  of  Charles  Keene. 
The  true  beauty  in  his  drawings  must  necessarily  be  hidden  from  such  a writer.  It  was 
not  revealed  to  Ruskin  ; how  can  Ruskin’s  successors  be  expected  to  know  better  ? 
But  why  should  their  eyes  be  opened,  why  should  they  see  ? The  artist  who  cares, 
already  knows  well  enough,  that  there  is  beauty,  and  of  divers  kinds,  in  Keene’s 
drawings — greatest  of  all,  beauty  in  the  method  of  expression,  in  every  line  set  down, 
whether  it  gives  the  sweep  of  the  wide  moorland  or  the  repeated  house  fronts  shutting 
in  a London  street,  the  greasy  creases  in  Robert’s  coat,  or  the  rags  hanging  about 
the  little  guttersnipe.  And  beauty  there  is,  too,  in  his  landscapes — masterpieces 
some  of  them  are — and  in  his  people,  the  women  in  voluminous  skirts,  the  little  girls 
in  simple  frocks  ; and,  above  all,  there  is  the  beauty  essential  to  show  character,  how- 
ever hideous  in  itself  or  insignificant,  in  a mere  moral  or  social  aspect.  ’Arry  and 
’Arriet,  policeman  and  publican,  slavey  and  Sandy,  as  he  shows  them,  have  their  beauty, 
though  it  may  not  be  the  prettiness  of  the  Keepsake  or  the  Christmas  Number , the 
British  standard.  And  that  he  could  even  produce  the  typical  beautiful  woman  if  he 
wanted  this  book  proves  for  ever.  That  his  critics  failed  to  appreciate  him  is  inevitable. 

And  his  humour  ? Because  he  did  not  always  invent  his  legends,  he  was  no 
humourist,  it  has  been  argued.  True,  his  drawings  did  not,  like  Gavarni’s,  depend 
equally  for  their  wit  and  meaning  upon  the  lines  written  below — these,  more  often  than 
not,  being  the  contribution  or  creation  of  a friend.  But  the  humour  is  in  the  drawing 
which  needs  no  literary  interpretation,  and  is  therefore  misunderstood.  His  figures,  his 
faces,  his  groups  tell  their  story — a story  of  delightfully  humourous  quality,  though  not 
as  brilliantly  satirical  as  Gavarni’s,  not  perhaps  as  romantically  audacious  as  Daumier’s. 
His  humour  was  more  kindly,  more  genial,  more  sympathetic,  never  fantastic,  seldom 
whimsical,  the  humour  rather  of  a man  who  could  see,  and  found  his  pleasure  in 
seeing,  his  fellow-men  as  they  are — weak,  foolish,  vain,  pert,  pretentious,  as  it  might 
be,  but  who  loved  them  none  the  less  for  it. 


35 


E 


THE  WORK  OF  CHARLES  KEENE. 


Besides  this,  in  none  of  his  drawings  is  there  the  slightest  shadow  of  the  vulgarity 
— the  appalling  vulgarity  that  humourists  like  Rowlandson  and  Gillray  substituted  for 
the  cleaner,  because  franker  indecency  of  the  French  draughtsman  ; there  is  none  of  that 
spirit  of  riskiness,  of  suggestiveness,  much  more  cultivated  to-day  in  Anglo-Saxon  nations 
than  elsewhere.  If  he  delighted  in  delineating  tipsy  men  and  servant  girls  and  cabbies 
and  snobs  and  soldiers  and  railway  porters  and  waiters,  is  it  not  because  the  greater 
part  of  our  intercourse  is  with  just  these  interesting  people?  They  are  the  only  inhabi- 
tants of  this  country  who  have  character.  If  he  did  not  draw  the  Johnnie,  the  masher, 
the  swell,  the  clumsy  elongated  female  fashion-plate,  it  is  just  as  well,  for  had  he  drawn 
them  it  must  have  been  with  so  much  truth  that  no  publisher  or  editor  would  have 
dared  to  print  the  drawings.  Had  Charles  Keene  chosen  Mr.  Ponsonby  de  Tomkyns  or 
Sir  Gorgius  Midas  as  his  subject  the  result  would  have  been  too  cruel.  He  respected 
the  feelings  of  such  people  too  much  to  expose  their  follies.  He  was  not  a Zola,  for 
all  his  realism  ; he  was  not  a Phidias,  with  all  due  deference  to  Mr.  Ruskin.  He  was 
just  C.  K.,  the  greatest  English  artist  since  Hogarth. 


V 


The  sketches  in  the  Introduction  arc  all  portraits  of  the  artist  drawn  by  himself. 


36 


THE  WORK  OF 
CHARLES  KEENE, 
WITH  COMMENTS 
ON  THE  DRAWINGS. 


37 


E 2 


I 


ORIGINAL  copper-plate  by  Keene.  A number  of  these  plates  were 
etched  by  Ihe  Artist,  and  afterwards  coloured  by  hand,  and  printed 
in  that  form  in  the  Pocket  Book. 


A Call ’For  the  Manager. 

' I 'HIS  slight  sketch  and  the  finished 
A drawing  on  the  next  page  show 
the  artist’s  practice,  as  well  as  his  care, 
in  preparing  his  drawings  for  publica- 
tion. This  is  but  his  first  suggestion. 
It  has  not  even  the  movement  and 
go  he  afterwards  put  in  ; it  is  but 
the  first  impression,  the  first  idea  for 
the  principal  figure.  It  was  drawn 
evidently  from  a model  on  roughish 
white  paper  with  pencil. 


41 


’ I 'HOUGH,  doubtless,  there  were  other  studies  made  before  Keene  got  his  scheme  for  the  cartoon 
A into  shape — and  this  is  one  of  the  few  cartoons  he  drew  for  Punch — one  cannot  help  being  struck 
by  the  movement,  the  action  now  evident  in  the  figures.  This  finished,  or  almost  finished,  drawing 
was  traced  on  the  block — for  it  is  reversed — and  then  carried  out  still  further  and  then  engraved. 
The  drawing  is  on  slightly  tinted  paper  in  the  greyest  of  grey  inks.  Those  drawings  which  are  reversed 
in  the  Punch  blocks  were  drawn  upon  the  wood  by  Keene  himself.  Those  which  are  not  reversed  were 
photographed  and  then  engraved. 


43 


A Call  for  the  Manager. 

Mr.  Punch.  “The  House  is  in  an  uproar.  Somebody  must  go  on.  It’s  getting  serious  ! 
Lord  Beac-nsf-ld.  “All  right,  Mr.  P.  I’ll  say  what  I can  to  quiet  them.” 


45 


Punch , Sept.  30,  1876. 

F 


' I 'HOUGH  I have  never  seen  any  other 
A studies,  either  for  the  remaining 
figures  or  the  background  of  this  subject, 
they  were  doubtless  made.  No  wood- 
engraver  even  could  render  the  fleshiness 
of  the  face  and  hands.  This  figure  has 
been  entirely  redrawn,  and  an  umbrella 
replaces  the  stick.  The  drawing  was  made 
probably  with  a brush  in  very  grey  ink. 


46 


Reminiscences. 

Governess.  “Show  Mr.  Smithers  your  New  Doll,  Ada.” 

O/d  Rustic.  “Ah — lor’ — deary  me,  Mum,  if  it  ain’t  the  very 
moral  ot  my  Old  Woman  when  she  was  in  her  prime  ! ! ” 

Punch , Nov.  ii,  1871. 


47 


F 2 


/V  N early  drawing  photographed  on  the  wood.  This  is  from  the  original  finished  design.  As  it  was  executed  in  black 
^ ink  on  white  paper,  the  engraver  was  able  to  follow  the  original  most  faithfully.  Keene  at  this  time,  1877,  had  not 

begun  to  set  the  engraver  the  impossible  tasks  of  his  later  years. — Process  Block. 


48 


Delicate  Attention. 

Confiding  Spinster.  “I’m  afraid  the  sea  is  too  cold  for  me  this  morning,  Mr.  Swabber.” 

Bathing  Man.  “ Cold,  Miss  ! Lor’  bless  yer,  I just  took  and  powered  a kittle  o’  Bilin’  Water  in  to  take  the  chill  off,  when 
I see  you  a-comin’  ! ” — Wood  Engraving. 

Punch  Almanack , 1877. 


49 


A MODEL,  simply  posing  for  the  footman, 
merely  drawn  for  the  costume  ; yet  even  the 
face,  more  or  less  a portrait,  has  been  as  carefully 
studied  as  any  other  detail.  Grey  ink  and  brush. 


“‘High’  Life  below  Stairs!” 

Master  [sniffing).  “There’s  a most  extraordinary  smell,  James. 
I’ve  noticed  it  several .” 

Ha/l  Porter.  “I  don’t  wonder  at  it.  Sir,  I’ve  spoke  about  it 
down-stairs.  The  Butler,  Sir,  you  see,  is  ‘’Igh  Church,’ 
which  he  ’as  fit  up  a horatory  in  the  pantry,  and  burns 
hincense.  We  could  stand  that  ; but  the  Cook  is  the 
‘Low  Church’  persuasion,  and  she  burns  brown  paper 
to  hobviate  the  hincense.  It’s  perfeckly  hawful  on  Saints’ 
Days,  Sir  ! ! ! ” 


5 r 


Punch , May  13,  1876. 


' I 'HOUGH  not  a study  for  the  maid  on  the  opposite  page — 
A I have  never  seen  the  figures  for  that  drawing — yet  the 
sketch  shows  the  care  for  and  the  love  of  his  work  so  character- 
istic of  the  artist.  No  doubt  this  figure  could  be  found  in 
some  one  of  his  finished  drawings.  Pen  and  ink  on  tinted 
paper. 


52 


Manners  ! 

Young  Mistress.  “Jane,  I’m  surprised  that  none  of  you  stood  up  when  I went  into  the  Kitchen  just  now  ! ” 

y ane.  “ Indeed,  Mum  ! which  we  was  su’prised  ourselves  at  your  a-comin’  into  the  Kitching  while  we  was  a’  avin’  our 
Luncheong  ! ! ” 

Punch , April  it,  1868. 


53 


G 


7 


’ I 'HOUGH  the  above  is  really  a finished  drawing,  one  may, 
A by  comparing  the  two  designs,  see  how  much  Keene  changed 
his  original  scheme  when  working  on  the  block.  In  this  case 
he  did  not  improve  it  ; at  any  rate,  the  engraving  is  far  less  free 
and  spontaneous  than  the  pen-drawing  reproduced  by  process. 
The  old  gentleman  has  not  half  the  character  ; detail  has  been 
added  which  is  mechanical  and  superfluous.  Brown  ink,  impossi- 
ble to  reproduce  on  white  paper.  The  ponderous  joke  may  have 
affected  him. 


5+ 


Reaction. 

Talented  Authoress.  “ Sensational  ? ! Oh  dear.  No  ! They  are  all 
plain  ‘Goody  Goody’  people,  who  call  on  each  other,  and 
talk  the  mildest  scandal.  The  only  incident  of  any  kind 
is  a Wedding  in  the  third  volume.” 

Editor.  “ Ah,  well,  I’ll  look  it  over  ! ” 

Punch , No-v.  6,  1869. 


55 


G 2 


HOTOGRAVURE,  by  Art  Reproduction  Company,  of  pen  drawing,  in 
brown  ink.  This  alone  shows  adequately  the  extreme  delicacy  and 
refinement  of  Keene’s  handling. 


CJ1  B 


i ,gniwBib  risq  lo  ,-{n£qmoO  noi}onbcnq9M  frA  yd  ,3HUVAHOOTOH 
cib  srrmixs  9rfJ  vlaiBnpsbB  eworia  9nolB  siriT  .dni  nwcnd 

.^nifbrtBd  a'9n99>I  }o  Jnamsnftei 


rysi  - , . 

t 


. 

« 


“ Perspective  ! ” 

pIRST  suggestion  in  pen  and  ink  for  the  finished  illustration  on  page  63. 


59 


“ Perspective  ! ” 


f\NE  of  the  most  charming  drawings  the  artist  ever 
made.  He  must  have  loved  his  pretty  model,  whom 
he  has  drawn  over  and  over,  always  improving  her,  always 
finding  her  more  charming.  Note  the  hands  and  the 
face,  the  delightful  rendering  of  the  crinoline,  the  sug- 
gestion of  old  wall,  studied  from  somewhere,  the  single 
figures  in  black  ink  on  white  paper. 

He  could  not  draw  a lady  ! 


“ Perspective  ! ” 

In  criticising  and  correcting  his  pretty  Cousin’s  Perspective,  of  course  Frederick’s  face  must  be  as  mearly  as  'possible  in  the  . 
same  place  as  hers  ! — TABLEAU  ! — Pa  (in  the  background)  is  evidently  making  up  his  mind  to  see  about  this  ! Note. — Fred 

hasn't  a rap. 

Punch  Almanack,  1868. 


63 


H 


tJ OW  much  has  been  lost  in  character  is  amply 
proven  by  this  drawing.  True  the  expression 
has  been  changed  by  the  artist,  but  the  character  of 
the  line  has  vanished.  Black  ink,  white  paper. 


64 


Mind  and  Matter. 

Augsistus  {poetical).  “ Look,  Edith  ! How  lovely  are  those  fleecy  cloudlets  dappled  over  the ” 

Edith  {prosaic).  “ Yes.  ’Xactly  like  gravy  when  it’s  getting  cold.  Isn’t  it  ?”  ! ! 

Punch , Oct.  19,  1872. 


65 


H 2 


' I 'HE  figure  in  the  engraving  on  the  following  page  is  a great  improvement  on  this  study  ; possibly 
A it  was  drawn  anew  on  the  block.  Brown  ink,  white  paper. 


67 


Proof  Positive. 

Mistress.  “Your  character  is  satisfactory,  but  I’m  very  particular  about  one  thing  : I wish  my  Servants  to  have  plenty, 
but  I don’t  allow  any  waste.” 

Page.  “ Oh,  no,  ’M,  which  I’d  eat  and  drink  till  I busted,  ’M,  rather  than  waste  anythink,  ’M  ! ! ” 

Punch,  Feb.  22,  1868. 


69 


A GAIN,  the  engraving  on  opposite  page  is  vastly  better  than 
1 the  sketch  ; the  first  is  but  a model,  the  last  the  Beadle 
incarnate,  rampant.  Black  ink,  white  paper.  The  Sister  is, 
for  Keene,  very  poor  and  wanting  in  character.  One  of  the 
few  cartoons. 


?0 


The  Unrecognised  Visitor. 

Bumble.  “You’re  the  Sister  of  Mercy,  is  you  ? Wei!,  we  arn’t  got  that  name  in  the  House  ; so  toddle  ! ” 

Punch,  July  21,  1866. 


71 


I 


A LTHOUGH  the  pose  of  the  head  has  been  changed,  the  rest  of  the  figure 
is  the  same  ; but  the  face  is  vastly  improved,  and  the  feet  have  wonderful 
expression  in  the  engraving.  Grey  ink,  white  paper. 


72 


Artful — Very  ! 

Mary.  “ Don’t  keep  a screougin’  o’  me,  John  ! ” 

John.  “ Wh’oi  bean’t  a screoagin’  on  yer  ! ” 

Mary  ( ingenuously ).  “Well,  y’  can  i’  y’  like,  John  ! ” 

Punch , >SV/T.  28,  1867. 


73 


1 2 


A N impossible  drawing  to  engrave  and  print  save  by  hand.  Drawn  in  vermilion,  each  stroke 
^ of  different  strength,  with  much  pencil  work  left.  Swain’s  block  is  a clever,  much-reduced 
translation.  This  was  photographed  on  the  wood. 


74 


During  the  Cattle  Show. 

Old  Farmer  W uzzle  ( reading  the  Bill  of  Fare).  “ Dinners  har 
lar  cart  ! What  does  that  mean,  Polly?” 

Miss  IV ux.xle  ( ivlo  has  been  to  a fashionable  Boarding-school  to 
be  finished , who  has  been  taught  French  and  how  “ to  spank  the 
grand  planner ,”  and  who  is  never  at  a loss).  “Aller  cart. 
Father  ? Why,  that  means  a small,  simple  dinner.  I?  you 
want  something  heavy  and  first-rate,  you  order  what  they 
call  a dinner  waggon  ! ” 

Punch,  Dec.  9,  1882. 


75 


1DENCIL  study  for  the  figure.  The  “Old  Party”  is  vastly  developed. 
A However,  all  the  folds  of  the  coat  are  carefully  copied  from  the 
study ; colour  and  quality  have  been  added.  Pencil  drawing. 


?6 


A Woman-hater. 

Spiteful  Old  Party  [who  is  tarring  the  stays  of  the  Flagstaff).  “Striped  Gownds  seem  all  the  ‘go’  with  ’em,  eh  ? (Chuckles.) 
I’ll  stripe  ’em  ! Put  a extra  streak  o’  ile  in,  o’  purpose — won’t  dry  for  a month  ! Come  lollopin’  about  here  with 
their  crin’lynes  and  tr’incs,  they  must  take  the  consekenses  ! ! ”i 

Punch,  Oct.  26,  1867. 


77 


jp'INISHED  drawing  photographed  on  wood  ; in  brown  ink,  reinforced  by  washes  ; quite  impossible  to  engrave  on  wood. 


78 


Culture  for  the  Working  Classes. 

Philanthropic  Employer  ( who  has  paid  his  workpeople' s expenses  to  a neighbouring  Fine  Art  Exhibition).  “Well,  Johnson,  what 
did  you  think  of  it  ? Pick  up  an  idea  or  two  ? ” 

Foreman.  “Well,  yer  see,  Sir,  it  were  a this  way.  When  us  got  there,  we  was  a considerin’  what  was  best  to  be  done, 
so  we  app’inted  a Deppertation  o’  three  on  us  to  see  what  it  were  like  ; an’  when  they  come  out  an’  said  it  were  only 
Picturs  an’  such,  we  thought  it  a pity  to  spend  our  shillins  on  ’em.  So  we  went  to  the  Tea-Gardens,  and  wery 
pleasant  it  were,  too.  Thank  yer  kindly.  Sir  ! ” 

Punch , Aug.  25,  1 8 77. 


79 


K 


/^\NE  of  the  most  amazing  “ drunks”  he  ever  did.  The  studies  are  but  for  the  action,  or  inaction  ; the  expression  he  reserved  for  the 
block,  and  it  has  been  preserved  by  the  engraver.  The  glass  house  has  been  drawn  again  and  again. 


8o 


“ Nae  that  Fou  ! ” 

Country  Gentleman  ( who  thought  he' a got  such  a treasure  oj  a new  Garaener).  “Tut,  tut,  tut  ! Bless  my  soul,  Saunders  ! 

How — what’s  all  this  ? Disgracefully  intoxicated  at  this  hour  of  the  morning  ! Ain’t  you  ashamed  of  yourself?  ! ” 
Saunders.  “ ’Sh-hamed  ! ( Hie .)  Na,  na,  ’m  nae  sae  drunk  as  that  comes  t’  ! Ah  ken  varra  weel  what  a’m  about  ! ! ” 

Punch,  Oct.  8,  1870. 


8t 


K 2 


^THE  old  lady’s  face  is  marvellous  ; no  reproduction  could  show  the  refinement  of  line 
THm  it>  A7  finished  drawing  in  greys  and  browns,  photographed  on  wood,  one  in 
which  the  delicacy  has  been  quite  omitted  by  the  engraver. 


82 


“ Responsibility.” 

Grandmamma  ( quoting  last  School  Report ).  “ ‘ Idle  ! — Insubordinate  ! Playing 

truant  ! ’ Oh,  Herbert  ! I was  shocked  to  hear  this  ! And  your  Papa 
and  Mamma,  how  distressed  they  must  have  been  ! — and  you  their  only 
child,  too  ! When  you  ought,  on  that  account,  to  be  all  the  more  a 
comfort  to  them.” 

Herbert.  “ Oh  yes,  Gran’ma’,  ’s  all  very  fine  1 But  it’s  rather  rough  on  a fellow 
to  have  to  be  so  jolly  good  for  a lot  of  bro’ers  and  sis’ers  he  hasn’t 
got  ! ! ” 


83 


Punch,  Feb.  18,  1888. 


•:v'j  >'y  ■ . '■  • ■■ 

M*:;'/'  ' ■■■  ■ 

%■>  & v ■ •• 


, *r  • . 

•tjf&V.  * ' i.  h'-:  W <s 

. ' .vf  i i 


Tr; 


' - 


4\  , « 


.Tv'  > . ■ .Vv‘ 


/ 


■ •/• 
./  . • ' f 


*V 


X 


A 


■w 


NT  ' 


A LANDSCAPE  background,  used  on -more  than  one  occasion.  See  the  j following  pages.  Every  sketch  he -ever 
^ made  was  used,  or  could  have  been.  He  never  wasted  a line,  or  a bit  of  paper.  The  drawing  of  the  trees  and  pool 
made  in  pencil  on  white  paper.  Simplified  much  in  the  engraving — the  vital  lines  well  kept,  but  the  colour  suppressed — 
and  rightly,  too,  in  this  case. 


85 


A Bad  Season. 

Sportsman.  “ I can  assure  you,  what  with  the  rent  of  the  Moor,  and  my  expenses,  and  ‘ what  not,’  the  birds  have  cost 
me — ah — a Sovereign  apiece  ! ! ” 

Keeper.  “A’  weel,  Sir ! ’Deed  it’s  a maircy  ye  didna  kill  mair  o’  ’em  ! ! ” 

Punch,  Oct.  12,  1867 


87 


L 


4' 


Encouraging. 

First  Bystander  ( evidently  Village  Schoolmaster-ignorant  set  of  people  generally !)  “Don’t  seem  to  be  making  much  of  it, 
do’e  ? ” 

Second  Bystander  ( you'd  have  thought  him  an  intelligent  Farmer , hy  the  look  of  him).  “ Ammy-toor,  seemin’ly  ! ! ” 

Punch,  Aug.  22,  1868. 


I 


89 


L 2 


A STUDY  of  foliage  with  pen  and  various  coloured  inks,  quite 
1 beyond  any  sort  of  engraving  save  photogravure  ; as  careful  as 
a Diirer,  yet  absolutely  modern. 


91 


/~\NE  of  the  numerous  figure  studies  possibly  afterwards  used  somewhere.  Pen  and 
ink.  Note  the  grace  of  the  crinoline,  the  form  of  the  hands,  the  sweet,  quiet 
dignity,  the  beauty  of  the  face.  Yet — they  say — he  could  not  draw  a lady  ! 


93 


IS  last  Punch  drawing.  I am  not  certain  that  he  made  this  sketch  on  the  Boulevards,  but  he  has  followed 
the  character  in  the  drawing,  though  the  waiter  looking  out  of  the  door  in  the  finished  engraving  is  more 


H 

English  than  French.  First  sketch,  pencil  ; second,  various  coloured  inks. 


95 


M 


^TUDY  for  drawing  on  opposite  page.  Ink  and  wash. 


96 


’Arry  on  the  Boulevards. 

Punch , Aug.  1 6,  1890. 


97 


M 2 


pjERE  one  secs  just  what  he  would  have  done  if  he 
could — that  is,  if  he  could  have  always  worked  for 
process.  Every  touch  in  the  sketch  is  full  of  meaning, 
every  graven  line  is  hard  and  tight.  Brown  ink,  white 
paper.  Compare  sketch  with  the  two  following  drawings, 
in  which  the  same  two  figures  arc  used. 


98 


A Broad  Hint. 

Baby  ( solemnly  : be  has  been  left  at  Grandmamma' s for  a few  hours , 
and  begins  to  find  it  rather  '■'■slow.")  " Gran’ma’  ! I wasn’t 

to  cat  too  much  Plum  Cake  ! ! ” 

[ Grandmamma  feels  the  rebuke , and  rings  the  bell. 

Punch,  Feb.  17,  1872. 


99 


Register  ! Register  ! ! 

Aunt  Sophy.  “ Now  suppose,  George,  as  a single  woman  I should  have  my  name  put  on  the  register,  what  should 
I get  by  it  ? ” 

Pet  Nephew.  “Oh,  a good  deal.  You’d  be  allowed  to  serve  on  coroner  juries,  common  juries,  annoyance  juries,  pay 
powder  tax  and  armorial  bearings,  act  as  parish  beadle  and  night  constable  of  the  Casual  Ward,  and  Inspector 
ol  Nuisances,  report  on  fever  districts,  and  all  jolly  things  of  that  sort.” 

Punch  Almanack,  1869. 


IOI 


^TUDY  in  ink  for  Robert. 


103 


Punch,  March  19,  1881. 


I05 


N 2 


1 

V\ 

m 

|y  / 

gJTUDY  in  ink  for  Robert. 


107 


Punch,  Sept.  4,  1880. 


I09 


^JTUDY  in  ink  for  Robert. 


I I I 


O 


Punch,  Aug.  14,  1880. 


1T3 


o 2 


' I 'HE  largest  number  and  the  most  elaborate  series  of  studies  I think  he  ever  made 
A for  one  illustration  ( Once  a Week , Aug.  24,  1867).  Commencing  by  a simple 
line  drawing  in  pen  and  ink,  he  finished  with  the  greatest  elaboration.  Curiously, 
the  position  of  the  hands  and  feet  and  the  smock  are  the  same  in  the  first  sketch  as 
in  the  finished  engraving. 


1 r5 


II? 


1 19 


p 


I 2 I 


P 2 


' I 'HE  best  engraving,  it  seems  to  me,  ever  made  from  one  of  his 
early  drawings,  April  28,  i860,  for  Evan  Harrington , in  Once  a 
Week.  Sharp,  clear,  clean  work,  excellent  in  its  way,  one  of  Swain’s 
best  blocks. 


I23 


STUDY  of  the  greatest  freedom,  never,  so  far  as  I know,  used.  Brown  ink  on  white  paper. 


I25 


^TUDIES  of  horses,  cart  and  cab,  probably  for  Punch. 


Note  the  different  quality  he  gets  in  the  pen  lines  in  one  drawing,  and  the  pencil  in  the  other. 


126 


127 


Q 


'"pHESE  two  charcoal  drawings  have  never  been  reproduced. 

I29 


They  are,  it  seems  to  me,  equal  to  Menzel  at  his  best. 


Q 2 


I3I 


''HARCOAL  sketch  for  a figure  on  following  page. 
* Once  a Week , April  II,  1863. 


The  drawing  was  printed  in 


133 


Breton  Peasants  singing  “The  March  of  Arthur.” 

Once  a Week,  Vol.  8 ,p.  434. 


5 


R 


SKETCH  in  Charcoal,  for  Once  a Week , Vol.  8,  p.  617.  Only  a 
^ project  for  a drawing,  yet  what  care  for  each  line,  and  what  bigness 
of  composition  ! 


137 


R 2 


CTUDY  in  ink  on  yellow  paper,  slightly  brightened  with  Chinese  white. 
Note  the  beauty  of  line,  which  will  scarcely  be  found  in  the  engraving. 


138 


The  Painter  Alchemist. 

Once  a IVeek,  1867 , p.  43. 


139 


WASH  drawing,  possibly  made  for  the  Illustrated  London  News.  Indian 
Charlet.  Each  little  figure  instinct  with  life,  movement,  character. 


ink,  white  paper,  very  like  the  work  of  Raffet  or 


I4I 


H ever  Castle. 

^TUDY  in  ink  on  blue  paper.  The  architecture  perfectly  understood,  and  expressed.  Each  line,  too,  in  the  foreground,  tells  its  story. 


*43 


s 


' 


I 


DO  nci  know  what  town  was  the  subject  of  this  sketch.  Mr.  Chesson  thinks  it  is  a 
difference.  The  drawing  is  excellent.  Drawn  in  ink  on  blue  paper. 


piece  of  Turnham  Green. 


It  makes  little 


145 


S 2 


INK  on  blue  paper.  Note  the  way  he  concentrates  his  blacks,  and  so  gets  brilliancy  in  the  lights,  the  study  he  has  given  each  pane  in  the 
windows,  and  the  delightful  trees  in  the  distance. 


H7 


A PROSPEROUS  person,  evidently,  drawn  in  the  studio,  as  one  may  see  from  the  details.  Brown  ink,  blue  paper. 


I49 


'^7’ERY  free  drawing  in  blue  ink  on  white  paper  ; probably  for  Punch. 


I5I 


T 


/^\NE  of  the  most  elaborate  full-length  studies  he  ever  made.  An  uncompromising, 
and,  therefore,  beautiful  rendering  of  the  i860  costume,  from  the  cloth  boots  to  the 
bonnet.  Study  for  the  frontispiece  of  “The  Cambridge  Grisette.”  Brown  ink,  white 
paper. 


1 53 


T 2 


LJOUSE  in  Hammersmith,  possibly  not  so 
A on  white  paper. 


free  as  some  of  the  other  drawings,  yet  a marvel  of  careful  and  accurate  work. 


Brown  ink 


*55 


Note  the  way  in  which  the 


A VERY  early  study,  I should  imagine,  though  only  because  the  room  looks  something  like  an  architect’s  office,  and  it 
^ was  as  an  architect  that  Keene  began  his  career.  Brown  ink,  white  paper. 


1 59 


u 


• , \ ' 

ly/i\ 


/V  P UNCH  study.  A real  study;  no  one  could  imagine  the  inconsequent 
* action  of  the  legs. 

Pencil  on  grey  paper,  drawn  on  the  back  of  an  old  envelope. 


■ 


, * 


A NOTHER  Punch  study.  There  is  as  much  real  study  of  astonishment 
^ in  this  sketch  as  of  helpless  abandonment  in  the  previous  one.  Pencil 
on  old  grey  paper. 


gTUDY  for  a Caudle  lecture.  Ink  on  white  paper. 


164 


M 


RS.  CAUDLE.— “Hark 
downstairs  ! ” 


I’m  sure  there’s  a noise 


165 


% 4 


PUNCH  study.  The  sleeper  of  the  Club  is  drawn  over  and  over  again. 

Keene  may  have  made  this  drawing  from  life.  If  so,  that  ever-present 
nuisance  really  was  once  of  some  use.  Ink  on  white  paper. 


167 


X 


model  posing  for  Punch  subject.  Ink  on  white  paper. 


169 


X 2 


PROBABLY  the  most  painter-like  drawing  he  ever  made;  possibly  for 
A Once  a Week , but  I cannot  trace  any  finished  engraving  made  out 
of  it.  Still,  it  was  not  his  way  to  waste  things.  Brown  ink,  white  paper. 


I 71 


npHE  same  old  lady  seated  will  be 
A seen  on  page  175.  A model  whom 
Keene  frequently  used.  Watery-grey 
ink,  white  paper. 


/^\NE  would  imagine  that  he  must  have  persuaded  this  little 
old  lady  to  come  into  his  room,  just  as  she  was,  to  have 
her  portrait  drawn.  Yet  he  was  careful  enough  of  her  comfort 
to  give  her  a cushion  which  didn’t  fit  the  chair.  Ink  on  white 
paper. 


1 75 


Y 


177 


Y 2 


b> 


r I 'HE  British  pioneer.  The  back  view  of  the 
grenadier  and  volunteer  appealed  to  him. 
And  some  of  his  most  amusing  drawings  have 
been  made  from  behind  the  line  of  fire. 


179 


OROBABLY  for  Pioicb.  Ink  on  greyish  paper.  So  many  tones  that  it 
A would  not  come  in  line. 


1 8 1 


\ 7"ERY  elaborate  pencil  drawing,  so 
- amazingly  suggested. 


delicate  that  no  one  could 


reproduce  it. 


The  velvet  dress 


183 


Z 


^IMPLE,  bold  pencil  sketch  of  pose  of  figure  and  spaces  of  colour. 


185 


Z 


ip 

IplJ^ 

. 

r&rmtt 

i- , ,^IWfiOi 

T^INISHED  wash  drawing  in  Indian  ink. 


I imagine  never  used. 


I87 


the  face 


Real  Irish  Grievance. 

Irish  Model  ( requested  to  put  on  rather  a dilapidated  costume').  “ The  blissed  Saints  dirict  me  into  this  coat,  Sor  ! ” 

Punch,  March  25,  1871. 


91 


A A 


| DO  not  know  if  Keene  ever  was  in  Ireland,  but 
he  seems  to  have  had  a number  of  peasant 
costumes,  as  this  is  evidently  a model  posing.  In 
fact,  a Punch  drawing  called  “ A Real  Irish  Griev- 
ance,” shows  the  model  saying,  “The  blissed  Saints 
dirict  me  into  this  coat,  Sor  ! ” 

Our  People,  p.  Si  8 . 


l93 


A A 2 


. 

’•*^3 

'Mq 

i s 


■ 

- 


DORTRAIT  of  himself,  studied  for  action  and 
A mirror.  Pencil  on  brown  paper. 


expression  in  a 


195 


* 


' | 'HE  only  sketch  of  a Jew  that  I have  ever  seen  by  Keene. 

Yet  the  whole  Twelve  Tribes  and  all  their  belongings  are 
on  this  bit  of  paper.  Pencil  on  brown  paper. 


I97 


JDUNCH  drawing,  probably  photographed  and  elaborated, 
ink.  Note  the  little  studies  of  the  barber’s  hand. 


Pink 


198 


Autumn  Leaves. 


Operator  ( commencing  attack').  “’Hair’s  falling  off  very  fast,  sir  !” 
Patient  ( carelessly ).  ‘‘Y-e-e-s.” 

Operator.  “ I can  rec ” 

Patient  ( gaily ).  “’Generally  does  this  time  o’  year.  Fresh  crop 
in  the  spring,  y’  know  !!”  (Snores.) 

[■ Operator  sighs , and  raises  siege. 

Punch , Nov.  20,  1875. 


199 


B B 


' I 'HERE  are  a number  of  these  completely  modelled 
A heads,  which  could  only  be  properly  reproduced  if 
Keene  had  etched  them.  There  is  all  the  elaboration  of 
the  “ little  masters  ” and  all  the  freedom  of  the  moderns. 
Brown  ink,  white  paper. 


201 


B B 2 


A NOTHER  head  similar  to  the  last, 
1 primarily  a study,  but  doubtless  used 
somewhere.  The  character  of  the  line  exactly 
like  etching.  Black  ink. 


203 


/GRACEFUL  little  person.  Pencil  study  on  the 
ever-useful,  never-wasted  back  of  envelope. 


205 


pENCIL  drawing,  Punch  subject. 


207 


C C 


' I 'HE  swing  of  the  brush  line  is  only  equalled  by  the 
A swing  of  the  figure.  The  first,  however,  is  sure,  the  last 
most  uncertain.  Tottering  to  the  fall.  Pen  or  his  favourite 
bit  of  stick,  and  very  grey  washy  ink. 


209 


C C 2 


'T'HIS  and  the  following  pencil  draw- 
A ings  are  carried  out  with  much  of 
the  feeling  of  the  Pre-Raphaelites,  or, 
more  probably,  the  two  drawings  are  of 
models  used  by  those  painters. 


2 I I 


213 


' 7^  \ 

I ■ - \ 


/ / / / 


A STUDY,  possibly  a copy,  in  the  style  of  Lawrence.  Had 
he  wished  to  do  the  “pretty”  face  there  would  have 


been  little  chance  for  any  one  else.  Pencil  on  white  paper. 


215 


D D 


'\7’ERY  early  sketch,  probably  at 
’ the  Langham.  Brown  paper 
and  ink. 


2 I 7 


D D 2 


A DUNDREARY  character,  whom 
^ he  probably  found  in  real  life. 
Pen  and  ink. 


2 19 


0 


NCE  a Week  subject. 
Painted  in  with  a pen. 


22  I 


/"\NE  of  his  fine  “baby”  drawings.  He  could 
have  made  Christmas  supplements,  no  doubt, 
but  thank  goodness  he  did  not.  Pen  and  ink. 


223 


E E 


T^ELIGHTFUL  suggestion  of  light  and  air  movement  of  the  trees  and  slope  of  the  hillside.  I neither 
know  where  this  pen  drawing  was  made,  or  it  it  was  ever  used. 


225 


E E 2 


T ITTLE  figure  from  a sketch 
book,  probably  to  be  re- 
. drawn  an  inch  or  so  high  for  some 
scarcely-looked-at  background  for- 
Punch.  Pen  and  ink. 


227 


npHOUGH  he  seldom 
■*"  drew  animals,  when 
he  did  they  were  excellent, 
save  sometimes  his  Scotch 
Cattle,  which  are  not  very 
terrifying.  Pencil  drawing. 


229 


A LANGHAM  model  in  Spanish  costume,  drawn 
1 at  the  Sketching  Club.  Black  ink  on  white 
paper. 


23T 


F F 


A MOST  elaborate  arrangement  of  pen 
^ and  wash  used  in  Punch.  Not  even 
a principal  figure,  and  in  the  engraving  by 
no  means  so  good.  A positive  proof  of  the 
great  interest  and  care  Keene  took  with 
every  bit  of  his  work. 


232 


Penny  Wise. 

National  Schoolmaster  ( going  round  with  Government  Inspector). 

“ Wilkins,  how  do  you  bring  shillings  into  pence  ?” 

Pupil.  “ Please,  Sir,  ’takes  it  round  to  the  public-’ouse,  Sir  ! ! ” 

Punch , Feb.  15,  1873. 


^33 


F F 2 


Miss  Lavinia  Brounjones. — No.  i. 

Miss  Lavinia  Brounjones  prepares  for  a I Sketching  Expedition  in  the  Highlands.  Leaving  the  beaten  track,  she 
will  establish  herself  in  some  remote  farmhouse,  where  she  can  find  ready  access  to  fine  scenery,  and  quiet  opportunities 
for  practising  her  Art.  She  superintends  the  packing  up  of  a lew  necessaries. 

Punch,  Aug.  18,  1 866. 


r I 'HIS  story  of  Lavinia  Brounjones  is  almost  the  only  series  he  ever  published  in  Punch,  and  shows  his  method  of 
A working  out  a story. 


Miss  Lavinia  Brounjones. — No.  2. 

Settled  in  Iter  country  lodgings,  Lavinia  finds  she  has  forgotten  her  bath,  but  her  ingenuity  enables  her  to 
the  difficulty  by  developing  the  resources  of  the  place. 


overcome 


Punch,  Aug.  25,  1866. 


Miss  Lavinia  Brounjones. — No.  3. 

Having  secured  a model  for  “The  Flocks”  in  her  picture  of  “Cattle  Lifting” 


Punch,  Sept.  1,  1866. 


239 


G G 


Miss  Lavinia  Brounjones. — No.  4. 
The  model  proves  refractory  ! 


Punch,  Sept.  8,  1866. 


24I 


G G 2 


Overcome  by  fatigue  and  excitement,  she  has  slept  profoundly, 
nightmare.  On  awaking,  she  finds  her  model  where  she  least  expected  it 


Miss  Lavinia  Brounjones. — No.  5. 

but  towards  morning  suffered  severely  from 

Punch,  Sept.  15,  1866. 


243 


Miss  Lavinia  Brounjones. — No.  6. 

Lavinia  arrives  at  a waterfall,  and  asks  its  name.  The  Shepherd  (not  understanding  English)  informs  her  in  Gaelic 
that  it  is  called  (as  Lavinia  supposes)  “ Vicharoobashallochoggilnabo.”  Lavinia  thinks  it  a very  pretty  name. 

Punch,  Sept.  22,  1866. 


245 


Miss  Lavinia  Brounjones. — No.  7. 

A bright  idea  strikes  the  shepherd,  and  before  Lavinia  can  remonstrate,  he  transports  her,  in  the  usual  manner,  to  the 
other  side. 


Punch,  Sept.  29,  1866. 


247 


H H 


Miss  Lavinia  Brounjones. — No.  8. 

She  comes  suddenly  on  a strange  structure— apparently  a native  fort — and  is  just  going  to  sketch  it,  when  a savage  of 
gigantic  stature,  and  armed  to  the  teeth,  starts  from  an  ambush,  and  menaces  her  in  Gaelic  ! 

Punch , Oct.  6,  1866. 


249 


H H 2 


r: u 


v / / ' 


III 


Miss  Lavinia  Brounjones. — No.  9. 

Lavinia  takes  a siesta, 

Punch , Oct.  13,  1866. 


25I 


No.  9. — co?iti?iued. 

And  the  frightful  situation  she  finds  herself  in  at  the  end  of  it. 


Punch,  Oct.  13,  1866. 


253 


■ 


Miss  Lavinia  Brounjones. — No.  \o  and  last. 
The  return  home. 


Punch , Oct.  20,  1866. 


I I 


255 


SWAN  ELECTRIC  ENGRAVING  CO. 


RAWING  in  chalk  and  white  on  tinted  paper  ; one  of  his  most 
perfect  studies  of  character. 


■ 

. 


SWAN  ELECTRIC  ENGRAVING  CO, 


OTUDIES  of  Irish  peasant  costume  in  black  chalk  on  brown  paper,  touched 
^ with  white.  At  the  bottom  of  the  sheet,  a slight  portrait  of  the  artist. 


SWAN  ELECTRIC  ENGRAVING  CO. 


I ^RAWING  in  black  and  brown  inks,  reinforced  with  washes.  There  are  several  drawings,  all  very  elaborate,  of  the 
interior  of  this  or  other  workshops  near  the  sea. 


26l 


r I 'HIS  study,  reproduced  in  colour,  gives  some  idea  of  Keene’s  ordinary 
A method  of  work.  It  will  be  seen  that  both  black  ink  and  sepia  have 
been  used,  while  the  sepia  has  been  diluted  with  water  to  get  variety — so 
much  in  places  that  it  has  run.  Quite  impossible  to  reproduce  and  print 
in  one  colour. 


26^ 


THE  WORK  OF  CHARLES  KEENE 


NOTE. 

The  Bibliography  that  is  here  attempted  is,  of  necessity,  incomplete.  The  journalistic  and  early  ’prentice  works 
of  Charles  Keene  are  scarcely  to  be  recognised,  or  chronicled  with  any  degree  of  thoroughness,  by  his  most 
penetrating  admirers.  The  difficulty  begins  directly  after  an  examination  has  been  made  of  London  Society  and  Once 
a Week , the  two  magazines  for  which  Keene  worked  that  made  a point  of  ascribing  to  each  of  their  artists,  in  the  table 
of  contents,  his  exact  share  in  the  production  of  the  volume.  His  work  in  The  Illustrated  Times  and  The  Illustrated 
London  News*  partook  of  the  nature  of  reporting,  or,  at  least,  was  not  distinctive  enough,  after  it  had  passed  through  the 
engraver’s  hands,  to  be  recognised  as  his  without  his  signature  ; and  he  seldom  signed  his  early  work.  His  contributions 
to  Punch , during  a connection  of  forty  years,  defy  any  efforts  at  selection  or  enumeration.  Nor  does  any  one  require 
to  be  reminded  of  the  strictly  comic  side  of  his  art.  It  was  distinctly  useful,  however,  that  a list  of  Keene’s  etchings 
should  be  prepared,  not  only  because  most  of  the  plates  have  mysteriously  disappeared,  but  because  they  form  the 
subject  of  a foreign  appreciation  of  the  artist  in  a standard  work  of  reference.  I refer  to  the  article  on  Charles 
Keene  in  the  eighth  part  of  the  dictionary  by  Henri  Beraldi,  entitled,  “Les  Graveurs  du  XIXe  Siecle : Guide  de 
1’ Amateur  d’Estampes  Modernes”  (Paris:  Librairie  L.  Conquet,  1889).  Beraldi  briefly  describes  twenty  of  Keene’s 
etchings,  a number  which  Mr.  Pennell  increased  to  thirty,  and  which,  by  adding  the  coloured  plates  of  the  “Punch 
Pocket-Books,”  I have  succeeded  in  more  than  doubling.  As  Mr.  Horace  Harral,  the  engraver,  remarks  in  a letter 
to  me,  “At  one  time  he  [Keene]  was  devoted  to  etching,  and  was  constantly  experimenting  [in]  ‘biting  in’  and 
‘ dry  point.’  He,  and  Edwin  Edwards,  and  J.  P.  Heseltine,  were  all  enthusiastic  etchers.”  I may  here  remark 
that,  if  any  vigilant  reader  notes  the  absence  in  my  list  of  Keene’s  etchings  of  the  interior  of  a workshop  (4^  X 7^-), 
lately  to  be  found  in  the  Print  Room  of  the  British  Museum  under  that  artist’s  name,  the  explanation  lies  in  the 
fact  that  the  etching  in  question  is  really  the  work  of  Keene’s  friend,  the  late  J.  M.  Stewart,  to  whom  the  Museum 
authorities  have,  at  my  suggestion,  based  on  information  supplied  by  Mr.  Henry  Keene  and  Mr.  Pennell,  at  last 
decided  to  attribute  it. 

The  search  for  Keene’s  etchings  led  to  the  accumulation  of  a few  notes  which  have  relevance  enough  to  be 
informally  submitted  to  the  reader  in  this  place.  Mr.  Henry  Silver,  who,  as  he  has  explained  in  Mr.  Layard’s 
“ Life,”t  was,  in  a great  measure,  the  cause  of  Keene’s  beginning  to  draw  for  Punch , has  a large  number  of 
rough  sketches  and  completed  drawings  by  that  artist.  For  the  most  part  they  appeared  in  Punch , and  at  least 
a score  of  them  are  the  finished  drawings  which  were  photographed  direct  on  to  the  wood-block.  Mr.  Silver 

* Miss  Bessie  M.  Anderson,  who  has  searched  the  periodicals,  attributes  to  Keene  the  undermentioned  contributions : — 


No. 

of  Drawings  contributed. 

First  appeared. 

Punch  - 

2,35° 

April  ist-29th,  1854. 

The  Illustrated  London  News  - 

5 

March  7th,  1857. 

Once  a Week  - 

134 

July  2nd,  1859, 

London  Society 

4 

September,  1862. 

Good  Words 

1 - - 

July  2nd,  1870. 

To  this  list  must  be  added  The  Cornhill  Magazine,  for  July,  1864,  to  which  Keene  contributed  two  illustrations  for  11  Brother  Jacob,”  an 
unsigned  story  by  George  Eliot ; and  The  Illustrated  Times  (see  '•  Narrative  of  the  Indian  Revolt,”  in  the  catalogue  of  books,  p.  279). 

With  regard  to  The  Illustrated  London  News,  Mr.  Mason  Jackson  further  informs  me:  “The  last  work  done  by  Charles  Keene  for  The 
Illustrated  London  News  appeared  in  the  Christmas  numbers  for  1856-1858 — ‘Bell  Ringing,’  p.  626,  December  20th,  1856;  ‘Snap  Dragon,’ 
p.  614,  December  25th,  1858.  His  earlier  work  for  the  paper  was  only  casual,  and  would  be  very  troublesome  to  find  at  this  late  date. 
When  he  became  a regular  contributor  to  Punch  he  ceased  to  work  for  The  Illustrated  London  News."  According  to  Mr.  Gleeson  White 
(“  English  Illustration,”  p.  26),  Keene’s  last  contribution  to  Once  a Week  appeared  by  way  of  illustrating  " The  Heirloom  ” (vol.  ix.,  pp.  435, 
463).  Keene’s  last  drawing  in  Punch  appeared  August  16th,  1890.  It  is  reprinted  in  this  volume. 

f “ The  Life  and  Letters  of  Charles  Samuel  Keene,”  by  George  Somes  Layard. 


265 


L L 


THE  WORK  OF  CHARLES  KEENE. 


frequently  supplied  Keene  with  subjects,  and  has  many  of  the  drawings  which ' were  thereby  suggested.  Among 
them  I noticed  that  of  the  old  gamekeeper,  who,  being  rebuked  by  the  parson  for  his  absence  from  church, 
replied,  “ If  I had  been  there  you  would  have  lost  pretty  nigh  half  your  congregation.”  It  was  about  the  time 
when  the  pheasants  lay  their  eggs,  which  were  saleable  for  a shilling  apiece,  and  needed  careful  watching.  The 
old  keeper  was  so  pleased  to  see  himself  in  Punch  that  he  framed  the  wood  engraving,  and  hung  it  in  his  cottage. 

An  inspection  of  Mr.  J.  P.  Heseltine’s  collection  enabled  me  to  state  in  my  notes  on  the  “ Punch  Pocket- 
Books  ” that  Keene  made  colour-sketches  for  the  comic  frontispieces  and  titles  which,  it  must  be  admitted,  have 
been  very  imperfectly  followed  in  the  prints,  and  it  will  be  noted  how  carefully  he  selected  and  studied  ideas  for 
these  burlesque  performances.  Mr.  Heseltine  also  possesses  a drawing  done  in  red  chalk  and  Indian  ink  of  a game 
of  croquet  as  played  in  India,  with  natives  holding  torches  ; and  an  oil  painting  done  on  millboard.  The  subject 
of  the  latter  is  a Langham  model — a lady  standing  with  music  in  her  right  hand,  looking  left.  She  wears  a red 
skirt  and  a blue  bodice.  Mrs.  Edwin  Edwards,  for  her  part,  possesses  a large  work  alluded  to  by  Mr.  Pennell, 
roughly  done  in  distemper,  which  might  almost  serve  as  a design  for  tapestry,  and  a water-colour  signed  by  Keene — 
a picture  of  soldiers  in  knickerbockers  and  armed  with  spears,  standing  in  front  of  a castle.  Jacques  Blanche  is 
probably  alluding  to  the  latter  when,  in  his  article  on  Keene  in  La  Chronique  des  Arts  for  January  17th,  1891, 
he  described  the  only  painting  by  that  artist  which  he  knew  of  as  “ une  aquarelle  de  guerriers  romantiques.” 
Mr.  Henry  Keene  owns  some  fine  examples  of  his  brother’s  charcoal  drawing,  and  many  other  examples  of  his 
art.  His  collection  has  been  drawn  on  to  illustrate  this  volume.  Fourteen  of  Keene’s  drawings  are  preserved 
in  the  Print  Room  of  the  British  Museum.  They  include  a crayon  drawing  of  a lady  at  the  Zoo,  whom  an 
elephant  has  picked  up  by  the  waistband,  and  a humorous  study  in  colours  of  a modern  ignoramus  gazing  at 
Egyptian  antiquities. 

It  may  now  be  noted  that  Mr.  Heseltine  possesses  what  is  probably  the  most  interesting  of  all  the  extant 
works  in  oil  by  Keene.  It  is  a portrait  of  himself,  entitled  “The  Artist  at  Work,”  given  originally  to  J.  M.  Stewart, 
and  sold  at  Christie’s,  April  3rd,  1882.  The  size  is  about  12  X 7.  Keene  is  seated  in  his  studio  looking 

front,  painting.  He  sits  in  his  shirt-sleeves  in  a Oueen  Anne  chair,  a red  smoking-cap  on  his  head.  A chest 
of  drawers,  with  a frame  on  the  top,  is  behind  him.  The  floor  is  bare  ; there  is  no  ceiling.  There  are,  besides 

innumerable  drawings  of  himself,  which  he  made  in  default  of  other  models  or  by  choice,  the  portrait  in  oils  by 

Sir  George  Reid,  P.R.S.A.  ; the  drawing  by  Professor  Herkomer  (dated  1870),  published  in  Mr.  H.  S.  Marks’ 

“Pen  and  Pencil  Sketches;”  the  painting  done  by  Mr.  J.  D.  Watson,  in  Wales  (dated  1870),  “and  considered  at 
the  time  to  be  striking  in  its  resemblance  ; ” a memorial  tablet  containing  a portrait  in  high  relief  by 

G.  J.  Frampton,  A.R.A.,  in  Hammersmith  Public  Library;  and,  for  its  humour,  I would  add  a “ croquis  a l’eau 

forte,”  done  by  Bracquemond  in  1871,  and  contributed,  with  a letter  to  the  editor  about  Keene,  to  the  number 

of  L' Artiste*  for  May,  1891.  In  the  latter  the  artist  has  not  forgotten  Keene’s  “ cornemuse  qu’il  appelait 

bug-pipe  ” (sic).  Keene’s  likeness  is  also  preserved  in  a number  of  photographs,  thirteen  of  which  have  come 

under  my  notice  through  the  courtesy  of  Mr.  Henry  Keene  and  Mr.  John  Hipkins,  the  engraver,  whose 

father,  Mr.  A.  J.  Hipkins,  F.S.A.,  author  of  “ Musical  Instruments,”  possesses  Keene’s  Northumbrian 

bagpipes  and  stockhorn.  Three  of  these  photographs  were  by  Mr.  Harral.  The  earliest,  taken  when  the 

subject  was  about  20,  shows  him  seated  looking  front,  wearing  a dark  beard,  his  right  hand  being  over  his  vest 
and  his  left  in  his  pocket  ; in  the  second  he  is  seated  looking  right,  hands  clasped  (age  between  25  and  30)  ; 
in  the  third  he  is  standing  looking  left,  smoking  a short  pipe,  legs  crossed  (age  between  30  and  35).  There 
are  two  photographs  by  the  late  Mr.  Wynfield,  designed  for  Rembrandtesque  effects  ; in  one  the  subject,  dressed 

as  a cavalier,  looks  right  ; in  the  other,  left.  In  the  former  he  wears  a large  hat,  in  the  latter  none,  and  in  each 

case  a broad  collar.  Messrs.  Elliott  and  Fry  took  at  least  two  photographs,  one  of  which  (taken  in  1869)  is  the 
frontispiece  to  Mr.  Layard’s  “ Life.”  A second  shows  the  subject  standing,  wearing  an  overcoat  and  a Scotch  cap, 
and  looking  right,  smoking.  This  photograph  is  one  of  two  (the  other  taken  by  an  amateur)  which  show  Keene 
with  long  moustaches  and  no  beard.  I may  add  that  Mr.  Layard  tells  me  that  at  Crail,  a village  in  Fifeshire,  he 

came  across  a water-colour  caricature  of  Keene  signed  “ L.  M.  S.,”  of  which  he  obtained  a facsimile.  Mr.  David 

* Other  French  articles  about  Charles  Keene  appeared  in  L'Art  Moderne  and  the  Gazette  des  Beaux  Arts  for  April,  1891.  The  latter  was 
written  in  French  by  Mr.  Claude  Phillips,  who  also  contributed  the  Prefatory  Note  to  the  Catalogue  of  the  Exhibition  of  Keene’s  drawings 
(see  p.  288).  Of  the  articles  that  appeared  in  1891  in  the  English  illustrated  periodicals  at  the  time  of  Keene's  death,  those  contributed  by 
Mr.  Joseph  Grego  and  Mr.  M.  H.  Spielmann,  to  the  March  numbers  of  The  Art  Journal  and  The  Magazine  of  Art  respectively,  and  the  contri- 
bution by  the  latter  to  Black  and  White,  for  March  21st,  may  be  cited.  Mr.  Layard  was  the  author  of  the  article  on  Keene  in  No.  64,  vol.  xii., 
of  Scribner's  Magazine,  and  Mr.  Pennell  wrote  the  one  which  was  published  in  The  Century,  for  October,  1897. 


266 


THE  WORK  OF  CHARLES  KEENE. 


Mathewson,  of  Crail,  is  the  owner  of  the  original,  which,  he  tells  me,  “ was  said  to  be  dashed  off  and  sold  as 

a potboiler  by  a young  French  artist.”  It  was  presented  to  Mr.  Mathewson  “about  twenty-five  or  thirty  years 

ago.”  The  caricature,  which  he  kindly  lent  me,  is  done  in  the  style  of  a Vanity  Fair  cartoon,  and  depicts 

Keene  standing  in  his  shirt  sleeves,  looking  left,  and  stirring  a flaming  punch-bowl  with  a crayon-holder.  He  holds 
the  bowl  in  his  left  hand,  and  has  a napkin,  adorned  with  a portrait  of  Punch,  slung  over  his  left  arm,  after  the 
manner  of  a waiter. 

It  would  be  equally  tedious  and  unprofitable  to  describe  the  vast  majority  of  the  drawings  in  the  possession 
of  Mr.  Silver,  Mr.  J.  P.  Heseltine,  and  other  collectors,  excepting,  perhaps,  the  artist’s  brother.  Nearly  all  have 
been  published  in  books  and  periodicals.  But  we  will  give  a final  glance  at  Mr.  Heseltine’s  portfolio,  in 
order  to  mention  a few  drawings  with  associations  of  interest.  One  is  a quaint  reminiscence  of  Mark  Lemon’s 
visit  to  Barmouth  : an  industrious  climber,  with  an  umbrella,  discovered  with  a horned  goat  looking  down 
on  him  from  above,  and  a truculent  bull  glaring  up  at  him  from  below.  Another  depicts  a pathetic  incident  in 
a snowstorm,  the  artist  having  collapsed,  or  taken  refuge,  under  his  canvas.  A picture  of  Polly  riding  back  to 
Beckley  Court  with  Evan  Harrington — a subject  from  the  novel  under  the  hero’s  name — reminds  one  of  a Keene 
book  that  ought  to  be  done.  The  illustrations  to  “Evan  Harrington,”  which  appeared  in  Once  a Week  (vols.  ii. 
and  iii.,  beginning  February  nth,  i860,  and  ceasing  October  13th,  i860)  are  reported  by  Mr.  Layard  to  have 
given  Mr.  Meredith  “ entire  satisfaction,”  and  Mr.  Meredith  told  me  himself  that  he  “ thought  them  generally  apt,” 
but  they  have  never  been  dissociated  from  the  magazine  for  which  they  were  drawn.  They  have  no  footlines, 
but  the  subjects  are  as  follows  : — 

1.  The  tradesmen  discussing  the  death  of  the  Great  Mel. 

2.  Lady  Roseley  viewing  the  corpse. 

3.  Evan  talking  to  Rose  on  board  the  Iocasta  (printed  Jocasta  in  the  book). 

4.  Evan  shaking  hands  with  Andrew  Cogglesby. 

5.  Evan  and  the  postillion. 

6.  Evan  pressing  his  mother’s  hand. 

7.  The  two  Cogglcsbys  dining. 

8.  The  Countess  talking  to  Evan. 

9.  Evan  meets  Susan  for  the  first  time. 

10.  Evan  meets  Raikes. 

11.  Evan  joins  Tom  Cogglesby’s  party  at  the  Inn. 

12.  Evan  holds  up  the  child  in  the  cricket  field. 

13.  The  three  young  men  discuss  “the  snipocracy.” 

14.  The  Countess  in  Church. 

15.  Rose  gives  Evan  the  roses  (reprinted  in  this  volume). 

16.  Raikes  leaning  outside  the  Inn. 

17.  Polly  riding  behind  Evan. 

18.  The  Countess  reading  Rose’s  album. 

19.  The  removal  of  Evan  to  the  carriage  after  “ Break-Neck  Leap.” 

20.  Rose  and  Evan  by  the  stream. 

21.  Raikes  “acting”  for  the  benefit  of  the  footmen  of  Bcckley  Court. 

22.  Ferdinand  on  his  knee  to  Rose. 

23.  Tom  Cogglesby,  Mrs.  Mel,  Mrs.  Hawkshaw,  and  the  trunk. 

24.  Mrs.  Shorne  remonstrates  with  Rose. 

25.  Tom  Cogglesby  in  the  donkey-cart,  and  the  footman. 

26.  Harry  consoling  Juliana. 

27.  Scene  in  the  park  during  the  picnic — Harry  “half-eaten  up  by  the  Conley  girls.” 

28.  Lady  (?  the  Countess)  to  right  leaning  against  a tree  to  left  with  a handkerchief  pressed  to  her  lips.  Scene — 

the  Picnic. 

29.  Dancing  in  Beckley  Park. 

30.  Harry  wringing  Evan’s  hand. 

31.  The  Countess  trying  to  dissuade  Evan  from  telling  Lady  Jocelyn  about  the  forged  letter. 

32.  Evan  tells  Lady  Jocelyn. 

33.  Caroline  and  the  Countess  in  their  bedroom. 


267 


THE  WORK  OF  CHARLES  KEENE. 


34.  Raikes  knocked  down  by  Ferdinand. 

35.  Raikes  walking  with  Frank  Remand. 

36.  The  two  Cogglesbys  laughing  over  their  plot. 

37.  Sir  Franks  (?)  and  Lady  Jocelyn  (?)  at  breakfast. 

38.  Andrew  Cogglesby  assaulting  the  “man  in  possession.” 

39.  Evan  riding  and  meeting  Rose,  Harry,  and  Ferdinand. 

40.  Rose  and  Evan  in  the  drawing-room  of  the  tailor’s  house  at  Lymport. 

The  idea  of  adding  a bibliography  of  books  to  the  list  of  etchings  had  the  excuse  of  practicability.  At  least  it 
promised  greater  success  than  could  be  won  by  the  pursuit  of  Keene  through  the  periodicals.  Still  it  has  proved  difficult 
of  execution.  I confess  I was  tempted  to  begin  at  the  beginning  and  start  with  “Ingram’s  Complete  Treatise  on 
Practical  Arithmetic”  (1830),  which  (it  seems)  Keene  as  a boy  illustrated  with  strict  irrelevancy  and  much  spirit;  but 
I feared  to  place  my  enthusiasm  under  a suspicion  of  drollery,  or  to  claim  for  Keene’s  very  own  work  which  might 
some  day  prove  to  be  that  of  a contemporary.  On  the  other  hand,  to  redeem  from  oblivion  even  his  signed 
book-work  has  not,  in  every  case,  proved  easy,  as  Mr.  Layard  has  demonstrated  in  respect  of  the  “ Crusoe.” 

I should  have  liked,  moreover,  to  have  found  the  almanac  illustration  to  which  allusion  is  made  by  Mr.  J.  G. 
Hollway  in  a letter  contributed  to  The  Times  in  1891,  and  reprinted  by  Mr.  Layard.  The  writer  descants  on 
a “ prophetic  picture,”  which  he  mentions  that  Keene  was  commissioned  to  do  for  one  of  the  almanacs  upwards  of 
“ forty  years  ago.”  Mr.  Silver  thought  that  the  almanac  was  Zadkiel’s.  “ What  a design  it  was  ! ” apostrophises 
Mr.  Hollway.  “ Death,  as  a skeleton,  poised  his  dart  over  a crowned  hooded  figure ; demons  hauled  on  ropes 
fixed  to  a church  ; a stately  throne  seat  tilted  to  its  fall  ; ships  went  down  ; powder  magazines  went  up.” 

I can  only  say  that  I have  examined  the  deceased  astrologer’s  “Astronomical  Ephemeris  ” for  the  years  1849 
to  i860  inclusive,  but  I have  not  discovered  a sketch  precisely  answering  to  that  description.  Zadkiel,  alias 
Mr.  Richard  James  Morrison,  began  to  publish  “hieroglyphics”  in  1847.  In  the  almanac  of  that  year  is  a picture 
containing  a man  in  bed  partially  enveloped  in  smoke,  a lighthouse,  ships,  a viaduct,  and  a church  steeple  struck 
by  lightning.  This  is  a mere  suggestion  of  what  Keene  is  alleged  to  have  drawn. 

In  1848  Death  appeared  as  a skeleton  under  Zadkiel’s  auspices.  He  held  the  tri-colour  flag  of  France  in  his  left  hand 
and  a dart  in  his  right.  By  him  stood  an  armed  man  with  a vizor  on,  a sword  held  under  the  hilt  in  his  right  hand  and 
a scroll  in  his  left.  Between  them  was  the  Gallic  cock  on  an  hour-glass.  At  the  right  lay  the  Pope’s  tiara  on  the 
ground.  But  there  is  not  much  evidence  of  Keene  in  all  this  ; the  skeleton  is  the  common  property  of  symbolists. 

Perhaps  Zadkiel  revised  the  first  lively  draft  of  Keene’s  fancy  ; perhaps  it  was  Old  Moore  who  gave  the 
artist  the  commission,  after  all. 

In  fact,  Old  Moore’s  prophetic  moods  during  the  fifties  were  translated  pictorially  in  a style  scarcely  inferior  to 
that  of  Zadkiel  I.  One  discovers  in  his  hieroglyphics  a wealth  of  disaster  that  would  satisfy  the  hungriest  appetite 
for  horrors  ; and  it  is  not  surprising,  therefore,  to  find  stray  reminiscences  in  one  or  other  of  his  almanacs  of  the 

panorama  described  by  Mr.  Hollway.  For  instance,  in  “Old  Moore’s  Almanack”  for  1855  (London,  1854),  a hand 

with  a dagger  threatens  a crowned  head  ; Death  as  a crowned  skeleton  holds  a scythe  significantly,  and  ships  go  down. 
“Justice,  Woe,  Prepare  to  Die,”  shrieks  the  prophet.  Or,  again,  in  his  “almanack”  for  1858,  we  find  that  animated 
skeleton,  Death,  wielding  a dart  in  his  right  hand,  with  the  legend,  “ Prepare,  Royalty,”  by  way  of  explanation. 

The  successor  to  Zadkiel  I.  (the  latter  died  in  February,  1874)  writes  that,  for  his  part,  he  can  find  no 
such  hieroglyphic  as  Mr.  Hollway  mentions.  He  refers  to  the  hieroglyphic  for  1849,  containing  a skeleton  poising 
his  dart,  a scorpion  creeping  towards  a ram  with  a sword  in  its  mouth,  and  a ship  sailing  in  the  offing  ; and  adds, 

“If  Charles  Keene  did  really  design  any  hieroglyphic  for  Zadkiel,  I should  think  it  was  that  for  1849,  which 

is  certainly  superior  to  any  before  or  after  that  year  (for  several  years).” 

It  is  only  proper  to  add  that,  at  the  time  when  this  alleged  drawing  is  supposed  to  have  appeared,  the  mystic 
Raphael  was  issuing  gaudily-coloured  plates  which,  I am  informed  by  Messrs.  Foulsham  & Co.,  were  the  work 
of  artists  who  occasionally  rose  into  great  prominence.  In  these,  as  in  the  other  hieroglyphics,  one  is  confronted 
with  an  array  of  public  catastrophes  : ships  go  down  or  are  blown  into  the  air,  and  churches,  if  not  hauled  down 
by  demons,  are  at  least  threatened  by  the  mob.  I have  submitted  a number  of  these  plates  to  Mr.  Henry  Keene, 
who  is  “unable  to  discern  anything  in  them  which  would  appear  to  [him]  at  all  like  [his]  brother’s  work  at  that 
period.  ” Here,  then,  the  inquiry  must  rest,  with  the  expression  of  my  opinion  that,  since  Mr.  Henry  Keene’s 
recollections  are  of  a coarsely-coloured  print,  the  claims  of  Raphael  to  be  considered  an  early  employer  of  Charles 
Keene  are  at  least  as  strong  as  those  of  Zadkiel  and  Old  Moore. 


268 


THE  WORK  OF  CHARLES  KEENE. 


Another  matter  upon  which  I am  only  able  to  speak  with  diffidence  is  the  coloured  book-cover  work  alleged  to 
have  been  done  by  Keene.  Routledge’s  edition  of  “ The  Boy  Tar”  (1884)  is  the  only  book  so  distinguished  that  has 
come  under  my  notice,  and,  in  this  case,  the  illustration  on  the  cover  is  merely  a coloured  reproduction  of  one  of 
the  plates  published  in  Kent’s  edition  (i860).  Mr.  Edmund  Evans,  however,  informs  me  that  Keene  made  some 
drawings  on  wood  for  him,  which  included  designs  for  novels  by  Bulwer  Lytton.  These  I have  not  succeeded 
in  cataloguing.  They  may  or  may  not  have  been  used  for  the  purpose  in  question.  I have  not  come  across  any 
u ex-libris”  work  by  Keene.  His  own  book-plate  was  designed  by  Frederick  Conway  Montagu,  and  is  published  in 
Mr.  Egerton  Castle’s  “English  Book-Plates  Ancient  and  Modern”  (George  Bell  & Sons,  1894). 

Mr.  Harral  alludes  to  a drawing  of  an  engagement  in  which  Admiral  Jervis  took  part.  Whether  this  was 
published  or  not  I cannot  say,  though  it  may  have  been  designed  for  the  book  entitled,  “The  Wooden  Walls  of 
Old  England”  (1847),  which,  however,  it  does  not  appear. 

If  it  were  the  fashion  to  produce  illustrated  editions  of  novels,  I should  have  had,  in  addition  to  the  serial 
already  mentioned,  to  include  a work  of  Mrs.  Henry  Wood’s  among  the  list  of  books  illustrated  by  Keene. 
“Verner’s  Pride”  appeared  as  by  the  author  of  “East  Lynne”  in  Once  a Week , beginning  June  28th,  1862, 
and  finishing  February  7th,  1863,  with  17  pictures  by  Keene.  An  interesting  feature  attaches  to  one  of  Keene’s 
illustrations  to  “ Benjamin  Harris  and  his  Wife  Patience,”  by  H.  K.,  another  of  the  Once  a Week  serials.  The 
wood-engraving,  originally  published  November  10th,  1859,  was  reprinted  in  three  different  sizes,  in  the  same 
magazine,  in  an  article  entitled  “An  India  Rubber  Artist,”  published  August  25th,  i860.  Two  of  these  are 
mechanical  reproductions,  and  the  third  is  from  the  original  block.  The  writer  showed  how  a wood-block  could 
be  printed  on  to  india-rubber,  which  could  be  stretched  or  compressed  according  to  the  size  in  which  it  was  desired 
that  the  illustration  should  appear.  This  had  been  done  with  the  block  in  question,  after  which  the  rubber  surface 
had  been  inked  with  lithographic  transfer  ink,  and  a print  of  it  made  upon  a zinc  plate.  The  latter  was  then  etched 
exactly  as  is  done  to-day.  The  novelty  of  this  method  of  reproduction  was  unquestionable  at  the  time,  but  it  will 
be  perceived  that  the  principle  underlying  it  is  closely  akin  to  that  of  reproduction  by  “ process  ” as  now  practised. 

Just  as  on  that  occasion  Keene’s  work  served  as  an  object-lesson,  so  on  another  occasion  it  distinctly  pointed 
a moral,  namely,  that  what  is  drawn  appropriately  to  illustrate  one  set  of  circumstances,  cannot  conveniently  be 
made  to  illustrate  a totally  different  set  of  circumstances.  Consequently,  when  a picture  of  Keene’s  illustrating 
A.  W.  Dubourg’s  serial  narrative  of  “ Lilian’s  Perplexities  ” found  its  way  into  Mr.  Thornbury’s  sporting  ballad 
of  “ Silver  Shoe,”  Mr.  Thornbury’s  ballad  became  slightly  ambiguous. 

It  may  save  confusion  if  I remark  that,  in  1886,  Major  (now  Lieutenant-Colonel)  A.  Stewart  Harrison,  a contri- 
butor to  Once  a Week,  published  with  Mr.  T.  Fisher  Unwin  a collection  of  tales  entitled,  “The  Oueen  of  the  Arena, 
and  Other  Stories,”  in  the  Preface  of  which  he  acknowledged  his  indebtedness  to  certain  artists  who  had  helped  to 
give  popularity  to  his  work.  Among  the  artists  named  is  Keene,  who  illustrated  one  of  these  very  tales  in  its 
serial  form  (viz.,  “Where  is  the  Other?”  Once  a Week,  vol.  ii.,  December  31st,  1859);  but  no  drawing  by  him 
appears  in  “ The  Queen  of  the  Arena.” 

I have  excluded  from  my  catalogue  books  that  merely  reproduce  Keene’s  published  work  with  a view  to 
illustrating  remarks  about  his  art,  among  which  may  be  classed  the  first  edition  of  Mr.  Pennell’s  “ Pen  Drawing 
and  Pen  Draughtsmen  ” (Macmillan  & Co.,  1889),  in  which  Keene  is  represented  by  merely  a reprint  from  a 
Punch  block;  Mr.  Charles  G.  Harper’s  “English  Pen  Artists  of  To-Day”  (Percival  & Co.,  1892),  containing 
reprints  of  some  Punch  drawings;  and  Mr.  Walter  Crane’s  “Decorative  Illustration”  (George  Bell  & Sons,  1896); 
which,  together  with  Mr.  Gleeson  White’s  “English  Illustration  [1855-70]”  (Constable  & Co.,  1897),  republishes 
the  same  illustration  from  “A  Good  Fight”  ( Once  a Week,  vol.  i.,  p.  91). 

Just  as  I am  going  to  press,  I learn  that  an  exhibition  of  the  works  of  Charles  Keene  has  been  held  this  year 
(1897)  in  New  York  by  Messrs.  Frederick  Keppel  & Co.  One  hundred  and  ninety-four  examples  of  his  art 
were  displayed,  including  seventeen  works  described  as  etchings.  Sixteen  of  the  latter  I recognise,  but  No.  194, 
“Mr.  Caudle  and  Miss  Prettyman  (unpublished),”  is  unknown  to  me.  Mr.  Henry  Keene  writes  to  me:  “I  do 
not  know  of  any  etching  of  the  subject  ...  in  the  sense  of  a copper-plate.”  The  note  to  the  catalogue  is 
signed  “Frederick  Keppel.” 

In  conclusion,  I may  be  permitted  to  observe  that  the  number  of  books  associated  with  the  name  of  Charles 
Keene  in  the  General  Catalogue  of  the  British  Museum  is  ten.  In  bringing  this  number  up  to  sixty-three,  a sense 
of  the  unknown  has  stolen  over  me,  and  I feel  now  that  I have  been  prevented  only  by  limits  of  time  and  space 
from  making  further  discoveries.  W.  H.  C. 


269 


LIST  OF  ETCHINGS  BY  CHARLES  KEENE. 


All  the  plates  of  these  etchings  must  be  understood  to  be  lost  or  destroyed,  except  in  cases  where  the  contrary 
is  stated.  In  no  instance  is  it  known  how  many  proofs  were  pulled  of  the  unpublished  ones,  and  no  single 
individual  or  institution  possesses  a complete  set. 


1 . * Size  of  Plate  and  Etched  Surface,  6|  x 4. 

Cottage  with  big  roof  near  Witley.  One  chimney  to  right.  Watering-can  in  foreground.  This  is  presumably  the 
“coin  de  ferme,”  No.  I 5 on  Beraldi’s  list. 

2.  Size  of  Plate  and  Etched  Surface,  f x 31. 

Portrait  of  Mrs.  J.  P.  Heseltine,  seated  to  right  under  a picture  on  a sofa,  netting.  Rich  wall-paper  behind  ; bottom  half 
of  the  picture  visible  at  top.  This  was  done  by  lamplight. 

3.  Size  of  Plate  and  Etched  Surface,  7%  x 4!. 

Two  studies  of  same  nude  bearded  model  on  same  plate.  In  each  case  he  carries  leather  bottle  on  left  shoulder.  Top 
study  is  a half-length  portrait  ; the  other,  underneath  and  at  right  angles  to  former,  is  a full-length  portrait  and  much  smaller. 
Number  of  bitings  (three)  in  top  left-hand  corner.  Probably  unique.  The  only  known  proof  is  owned  by  Mr.  Pennell. 

4.  Size  of  Plate  and  Etched  Surface,  51  x 3I. 

Model  in  eighteenth-century  costume  ; white  coat  ; seated  to  left,  playing  ’cello  ; bow  in  wrong  hand,  owing  to  the 
reversion  in  printing.  Probably  done  at  Langham  Sketching  Club.  This  is  No.  1 on  Beraldi’s  list.  He  describes  it  as 
“ tres  curieux  comme  travail.  On  pourrait  comparer  cette  piece  a une  eau-forte  de  Meissonier.” 


3.  Size  of  Plate  and  Etched  Surface,  4!  x 31. 

Model  in  top-hat,  long  frock-coat  ; looking  left.  Scene  in  artist’s  studio  ; stove  with  kettle  on  in  background.  Number 
of  bitings  (two  : 1st,  25  m.;  2nd,  10  m.)  in  left-hand  side.  This  is  the  “croquis  d’un  homme  se  chauffant,  le  dos  a un  poele,” 
No.  19  on  Beraldi’s  list. 

6.  Size  of  Plate  and  Etched  Surface,  4!  x 4. 

Portrait  of  Edwin  Edwards  (at  Sunbury-on-Thames)  in  spectacles,  reading  a book  in  a garden  chair  ; looking  left. 
Tree  and  brick  wall  in  background.  This  is  No.  II  on  Beraldi’s  list.  Plate  owned  by  Mrs.  Edwards. 

7-  Size  of  Plate  and  Etched  Surface,  \\  x 31. 

A room  in  Edwards’  house  at  Sunbury-on-Thames.  Portrait  of  Mr.  Edwards  in  a chair  painting,  looking  right, 
wearing  spectacles.  Window  in  top  right-hand  corner.  Plate  owned  by  Mrs.  Edwards. 

8.  Size  of  Plate  and  Etched  Surface,  41  x 4. 

Portrait  of  Mrs.  E.  Edwards  in  sunbonnet  (at  Sunbury-on-Thames).  She  is  leaning  back  in  a lounge  chair,  knitting, 
a large  book  on  her  knee,  and  looking  right.  The  scene  is  a field.  This  is  No.  12  on  Bcraldi’s  list.  Plate  owned  by 
Mrs.  Edwards. 


9.  Size  oj  Plate,  6|  x 5.  Etched  Surface,  6x5. 

Lady  of  i860  seated,  reading  a book.  Wears  crinoline  and  Montero  hat  with  two  white  feathers  and  a chignon.  Strong 
shadow  at  left  hand.  Number  of  bitings  (two)  in  top  left-hand  corner.  Mrs.  A.  J.  Hipkins  was  told  it  was  a portrait  of  the 
artist’s  sister.  This  is  the  “dame  . . . coiffee  d’un  toquet,”  No.  7 on  Beraldi’s  list. 


* All  dimensions  given  in  inches,  with  a minimum  of  one-eighth  of  an  inch. 


271 


LIST  OF  ETCHINGS  BY  CHARLES  KEENE. 


10.  Size  of  Plate,  6|  x 4.  Etched  Surface,  61  x 3|. 

Man  in  doublet,  slash-breeches,  and  white  cap,  looking  right,  holding  bagpipes.  Right  hand  on  hip.  This  is,  presumably, 
the  “lansquenet  dcbout,”  No.  2 on  Beraldi’s  list. 

1 1 . Size  of  Plate  and  Etched  Surface,  61  x 31- 

Lady  in  Elizabethan  dress,  seated  with  her  head  on  her  hand  ; lute  at  left.  In  top  right-hand  corner,  sketch  of  the  head 
of  a man  who  is  drawing.  Signed  “ C.  K.”  at  left.  Done  at  the  Langham  Sketching  Club.  This  is  No.  3 on  Beraldi’s  list. 

12.  Size  of  Plate  and  Etched  Surface,  6 x 31. 

French  gendarme  galloping  with  uplifted  sword.  Signed  “C.  K.”  at  foot.  It  is  No.  20  on  Beraldi’s  list.  Mr.  J.  P.  Heseltine 
has  a sketch  of  this. 

13-  Size  of  Plate  and  Etched  Surface,  3^  x 6|. 

Interior  (a)  of  “The  Hill,”  Witley,  the  residence  of  Mr.  Birket  Foster.  Elizabethan  room,  with  three  windows  at  back, 
viewed  from  the  top  of  a staircase.  Little  girl  seated  on  bench  under  the  left-hand  window  ; another  girl  stands  by  her  side. 
Balusters  in  foreground.  This  is  No.  18  on  Bcraldi’s  list. 

14-  Size  of  Plate  and  Etched  Surface,  4x6. 

Interior  (b)  of  “The  Hill,”  Witley.  Same  Elizabethan  room  as  13,  showing  two  lattice  windows.  Bench  underneath 

them.  At  right,  a large  chair  without  arms.  Glimpse  of  windows  of  another  room  to  right.  A staircase  in  foreground  at  right. 
The  subject  was  etched  in  reverse  direct  from  nature.  This  is  presumably  the  “chambre  a boiseries,”  No.  17  on  Bcraldi’s  list. 

15-  Size  of  Plate  and  Etched  Surface,  51  x 3!. 

Model  drawn  at  the  Langham  Sketching  Club.  Stern-featured  woman  seated,  looking  left,  wearing  a Normandy  cap 
(costume  ot  Calais);  hands  clasped  on  right  knee.  This  is  the  “ paysanne  a bonnet  tuyautc,”  No.  5 on  Beraldi’s  list. 

l6.  Size  of  Plate  and  Etched  Surface,  7!  x 41. 

Man  (Langham  model)  seated  in  wooden  chair,  looking  left.  Profile  face,  with  moustache  ; hat  on  head  ; cloak  hangs 
over  back  of  chair  ; gaiters  below  the  knee  ; left  shoe  with  large  buckle  thrust  forward.  He  is  putting  on  a large  glove  or 
gauntlet,  which  he  holds  firmly  in  left  hand.  This  is  presumably  the  “ homme  assis,  cn  pourpoint  [doublet]  et  petit  manteau,” 
No.  4 on  Beraldi’s  list. 

I7-  Size  of  Plate  and  Etched  Surface,  6 x 5. 

Elderly  man  seated  in  large  armchair,  looking  right  ; lips  tightly  pressed,  hands  clasped  ; overcoat  buttoned  at  top,  large 
top-hat  on  floor  to  left.  Number  of  bitings  (three  : 1st,  5 ; 2nd,  10  ; 3rd,  20)  in  top  right-hand  corner.  Same  model  as  No.  5. 
This  is  the  “homme  age,”  No.  10  on  Beraldi’s  list. 

18.  Size  of  Plate  and  Etched  Surface,  5I  x 7. 

Dunwich.  Sea  to  left.  Ruin  of  Dunwich  Church  with  tower  to  right  on  cliff.  Foreground  of  grass,  etc.  Signed 
“ C.  K.”  at  bottom  left-hand  corner. 

IQ.  Size  of  Plate  and  Etched  Surface,  2I  x 7I. 

Dunwich.  Sea  to  left.  Boats  and  shingle  in  foreground.  Ruined  church  indistinctly  seen  on  cliffs  to  right.  Signed 

“C.  K.”  in  right-hand  bottom  corner.  This  and  the  next  etching  were  made  together  on  one  plate,  owned  by 

Mr.  Henry  Keene.  The  plate  was  afterwards  cut  in  half,  and  this  and  No.  20  printed  from  it. 

20.  Size  of  Plate  and  Etched  Surface,  2I  x 71. 

Dunwich.  Sea  to  right.  Church  to  left.  The  name  “Dunwich”  etched  in  top  left-hand  corner,  “Southwold”  in  top 

right-hand  corner,  and  “ Walberswick  ” between  in  the  same  line.  Signed  “ C.  K.”  in  bottom  left-hand  corner  (see  note  to  19). 

21.  Size  of  Plate  and  Etched  Surface,  4 x 6|. 

Seaton,  South  Devon.  Boats  in  foreground.  Cliffs  at  back.  Sea  to  right.  This  is  presumably  No.  14  on  Beraldi’s  list 
— “canots  sur  le  sable.” 

22.  Size  of  Plate  and  Etched  Surface,  61  x 4.  Etched  Surface,  4)  x i|. 

Portrait  of  Mile.  Zambaco,  looking  left,  sketching.  Left  hand  on  drawing-board.  The  bottom  of  the  etching  curves 
indeterminately  with  the  girl’s  skirt.  This  is  the  “jeune  fille,”  No.  9 on  Beraldi’s  list. 

23-  Size  of  Plate,  31  x 4S.  Etched  Surface,  2X3  (the  top  of  the  Etched  Surface  is  cur  ved,  so  that  it  is  a little  higher  in  the 

centre  than  at  the  side ). 

A sailor-boy  at  sea,  looking  right,  pulling  with  both  hands  at  one  oar.  He  looks  afraid  ; the  weather  seems  threatening. 
There  is  a deep  shadow  at  back.  The  copy  in  the  Print  Room  of  the  British  Museum,  from  which  my  description  is  made,  looks 
as  though  it  were  a leaf  torn  from  a book. 


272 


LIST  OF  ETCHINGS  BY  CHARLES  KEENE. 


24. 


Size  oj  Plate  and  Etched  Surface,  4?  x 3. 


Man  standing,  cap  on  head,  looking  left.  Right  hand  in  pocket  ; left  grasps  the  handle  of  something  that  might  be 
a stick,  bat,  or  fishing-rod.  His  trousers  are  wide  ; the  right  foot  is  thrust  forward.  Number  of  bitings  (two:  1st,  20  m.;  2nd,  1 5 m.) 
in  top  left-hand  corner. 

25-  Size  of  Plate,  6 x 5-  Etched  Surface,  41  x 2|- 


A brigand,  or  similar  ruffian,  with  a bushy  beard  and  large  boots,  falls  heavily  back  to  the  left,  gazing  upwards  into  a 
strong  light,  apparently  just  shot.  His  right  hand  grasps  the  stock  of  a gun,  his  left  the  edge  of  a partition,  which  seems  to  be 
his  sole  support.  A sheathed  sword  hangs  at  his  left  ; a number  of  cartridges  depend  from  his  waist.  A pouch  and  lantern  are 
slung  from  his  shoulder.  Strong  lights  and  deep  shadows.  The  scene  is  probably  a garret. 


26.  Etched  Surface,  4§  x 3.  (?) 

A man,  looking  left,  standing,  feet  wide  apart,  holding  a sword  in  left  hand.  Strong  light  falls  on  sword-hand  ; deep 
shadow  on  right  leg.  Right  arm  has  only  partially  come  out.  Breeches  a little  below  the  knee.  This  description  was  made  from 
the  bad  proof  in  the  British  Museum. 

27.  Size  of  Plate  and  Etched  Surface,  61  x 3|. 

Gamekeeper  in  high  boots.  Second  head  of  same  figure  to  left.  This  is  the  “ homme  du  peuple  debout,  chausse  de 
grandes  bottes,”  No.  6 on  Beraldi’s  list.  In  Keppel  & Co.’s  catalogue  to  the  exhibition  held  in  New  York  (1897),  this  man  is 
described  (erroneously,  I think)  as  a “’Longshoreman.” 

28.  Size  of  Plate  and  Etched  Surface,  6 X 3I. 

Lady  seated,  looking  left,  sewing,  or  crocheting,  with  a pillow  behind  her.  Her  dark  hair  is  neatly  parted  in  the  middle 
and  brushed  back.  She  wears  the  dress  of  i860.  At  back  is  a curtain  apparently  before  a window;  floral  pattern  indicated. 
Deep  shadow  in  right  bottom  corner.  Low  down  on  right  the  words,  “2nd  B.,  10  m.,”  and  on  the  left  side  “3rd  B.,  10  m.” 
Duration  of  first  biting  not  given.  This  is,  presumably,  the  “dame  travaillant  a l’aiguille,”  No.  8 on  Beraldi’s  list. 


29.  Size  of  Plate  and  Etched  Surface,  6x4. 

Male  Puritan  standing,  looking  right.  Right  hand  on  hip,  left  on  a desk  or  box.  The  model  was  a man  surnamed  Wall, 
the  caretaker  of  the  Langham  Sketching  Club. 


30.  Size  of  Plate  and  Etched  Surface,  6 x 3|. 

Lock  on  the  canal  between  Watford  and  King’s  Langley  in  deep  shadow.  Elaborate  landscape.  Portion  much 
underbitten  in  lower  right-hand  corner.  This  is  presumably  the  “ ecluse,”  No.  16  on  Beraldi’s  list. 

3i-  Size  of  Plate  and  Etched  Surface,  2|  X 9. 

Southwold.  River  to  right.  Cottages  on  left  bank.  Rivulet  to  left.  Open  sky.  The  word  “ Walberswick  ” in  bottom 
left-hand  corner. 

32.  Size  of  Plate  and  Etched  Surface,  41  x 6|. 

Published  in  The  Etcher  {ox  March,  1881.  Southwold  Harbour.  Piers  left  and  right.  Shanty  at  back.  Foreground  or 
shingle.  Walberswick  to  right.  This  is  presumably  the  “extremite  d’une  estacade  avec  cabane,  pres  de  la  mer,”  No.  13  on 
Beraldi’s  list.  Mr.  H.  M.  Cundall  informs  me  that  the  number  of  impressions  printed  was  450.  The  plate  is  still  in  his 
possession. 

33-  Size  of  Plate,  61  x 4I.  Etched  Surface,  4!  x 3I. 

Published  in  “Passages  from  the  Poems  of  Thomas  Hood”  (1858).  Illustrates  “The  Lee  Shore.”  The  seaman  is 
standing  upon  the  boat,  clean-shaven,  with  a tarpaulin  hat  on  his  head,  looking  right.  His  left  hand  grasps  the  helm,  his  right 
holds  a rope  which  is  fastened  to  it.  Above  him  is  a glimpse  of  the  sails  of  his  boat.  The  sky  and  the  sea  are  black  with — 

“ Winds  that  like  a Demon 
Howl  with  horrid  note 
Round  the  toiling  seaman 
In  his  tossing  boat.” 


34-  Size  of  Plate,  6J  x 4-  Etched  Surface,  5I  X 3|. 

Published  in  “Passages  from  Modern  English  Poets”  (1862).  Illustrates  the  line  in  Letitia  Elizabeth  Landon’s 
the  Plague  ” — 


" Friends  in  the  distance  watched  for  friends,  watched  that  they  might  not  meet.” 


Scene  of 


A cavalier  is  walking,  muffled  up  in  his  cloak,  looking  left.  Behind  him,  to  the  right,  is  a door  bearing  a cross,  and  showing  this 
piece  of  an  inscription  : — 

Lord 
Merc 
upon  us 


273 


M M 


LIST  OF  ETCHINGS  BY  CHARLES  KEENE. 


35- 


Size  of  Plate,  5S  x 14.  Etched  Surface,  4J 


From  “Punch’s  Pocket-Book  for  1865,”  illustrating  a sketch  signed  “A.  M.  G.  M.”  Frontispiece  and  title  on  one  plate. 
Former  is  entitled  “ Punch’s  Sporting  Lamp — Awful  Explosion.”  It  depicts  a table  in  centre  of  a room.  A man  is  rising  up  to 
the  ceiling,  face  downwards,  attached  by  a string  to  a man  standing  with  a bell.  In  the  foreground  is  a man  looking  right, 
pressing  the  under  edge  of  the  table.  An  old  lady  sitting  in  a chair  by  him  looks  left  with  a horrified  expression  of  face.  Other 
spectators  are  round  about.  At  back,  to  left,  is  a cupboard,  through  a hole  at  the  top  of  which  issues  a trumpet.  Between  the 
words  and  date  on  the  title  Punch  stands,  hat  in  left  hand  and  open  pocket-book  in  right.  He  is  looking  left.  Behind  him  is  a 
background  of  drapery. 


36. 


Size  of  Plate,  51  x 14.  Etched  Surface,  4§  x ii| 


From  “Punch’s  Pocket-Book  for  1866.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled,  “Mrs.  Professor  Fogey’s 
Reading  Class.  Subject:  Wonders  of  the  Deep.”  It  illustrates  a letter  by  the  writer  of  “A  Mermaid’s  Diary”  (a  paper  in 
Punch).  Scene,  the  seaside.  Mrs.  Professor  Fogey,  with  spectacles  on,  sits  under  a large  boulder  looking  left,  seaward. 
Two  are  flirting  behind  her  with  their  backs  to  the  sea,  and  two  more  at  her  right-hand  side.  Others  are  in  an  attitude  of 
attention.  The  ladies  wear  crinolines.  Lunch-basket  on  shingle  in  foreground.  On  title-page,  Time  with  scythe  under  left 
shoulder  and  sacks  and  hour  glass  slung  over  it,  and  sandals  on  his  feet,  is  looking  right  at  a pocket-book  which  is  standing  on  its 
end  showing  flap.  On  the  book  are  these  words,  “Oh  ! must  stop  and  have  a look  at  this.”  Signed  “C.  K.”  in  bottom  right-hand 
corner.  Mr.  J.  P.  Heseltine  has  a sketch  of  the  frontispiece.  See  also  description  of  44. 


37- 


Size  of  Plate,  5!  x 13.  Etched  Surface,  4! 


From  “Punch’s  Pocket  Book  for  1867.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled,  “The  Matrimonial 
Arrangement  Association  (Limited).”  Men  and  women  (latter  in  crinolines)  bargain  for  wives  and  husbands  respectively  in  front 
of  a counter.  Background  of  wall  covered  with  photographs,  busts,  and  bills.  Glass  door  at  left  inscribed  “ Waiting  Room. 
Ladies.”  Various  appropriate  remarks  issue  from  the  mouths  of  the  characters.  Mr.  J.  P.  Heseltine  has  a sketch  of  this 
frontispiece.  Title-page  shows  Punch,  holding  a pocket-book  with  the  flap  visible,  with  gloved  hands  high  above  his  head.  He  is 
surrounded  by  ladies,  who  catch  hold  of  him  entreatingly.  Mr.  J.  P.  Heseltine  has  an  uncoloured  sketch  of  the  frontispiece,  and 
what  seems  to  be  a study  for  the  title-page,  bearing  this  remark  of  Punch,  “I  don’t  hold  with  them  stone  (?)  girls.” 


38. 


Size  of  Plate,  4!  x i2|.  Etched  Surface,  ft  X 12. 


From  “Punch’s  Pocket-Book  for  1868.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  ‘“The  Person’  in 
Parliament — Chairing  the  new  Member.”  This  illustration  is  founded  on  a humorous  prophecy  which  time  has  falsified.  The 
leading  article  of  the  second  part  of  the  “Pocket-Book”  is  an  imaginary  extract  from  the  Times  of  April  1st,  1878.  It 
comments  on  the  ability  of  women  to  enter  Parliament.  In  the  picture  the  lady  candidate  is  standing  up  looking  right,  in  a 
carriage  drawn  by  two  white  horses,  of  which  the  near  one  is  mounted  by  Punch,  who  wears  favours  in  his  hat  and  coat.  Women 
policemen  to  right,  banners  at  back.  Various  ladies  make  suggestions  to  the  candidate,  which  issue  from  their  mouths.  Title- 
page  shows  a female  Speaker,  seated,  wig  on  head,  looking  front.  The  mace  lies  on  a table  under  her.  On  some  tapestry  below 
appears  the  date,  1868.  Signed  “C.  K.”  in  right-hand  corner  of  the  fringe.  Mr.  J.  P.  Heseltine  has  a water-colour  sketch  of  this 
title-page. 


39-  Size  of  Plate,  4S  x 12.  Etched  Surface,  4!  x ii|. 

From  “Punch’s  Pocket-Book  for  1869.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  “The  Ladies’  Cricket 
Club — Matches  to  come.”  Scene,  ground  in  front  of  a mansion  with  glass  house  in  front  ; trees.  Girls  in  knickerbockers  are 
playing  cricket.  Batsman  in  foreground  ; a girl  with  long  falling  hair,  tied  with  a bow  behind,  has  skied  the  ball,  which  is  about  to 
be  caught  by  the  fielder  behind.  Lady  spectators  left  and  right.  Near  the  glass  house  an  archeress  is  firing  at  a target.  Between 
the  words  “Mr.  Punch’s”  and  “Pocket-Book”  on  title,  is  a picture  of  Punch,  screened  on  either  side  by  the  covers  of  the 
“ Pocket-Book,”  which  he  bears  on  his  back.  A lady  cricketer,  in  knickerbockers,  looking  left,  is  shaking  hands  with  him. 
Signed  “ C.  K.”  in  bottom  right-hand  corner.  Mr.  J.  P.  Heseltine  has  a water-colour  drawing  of  the  frontispiece,  and  a sketch  of 
the  title-page. 

40.  Size  of  Plate,  4;)  x 1 1|.  Etched  Surface,  4^  x n|. 

From  “Punch’s  Pocket-Book  for  1870.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled,  “The  Ladies’  New 
Gallery,  1870.”  Scene,  the  Ladies’  Gallery  in  the  House  of  Commons.  Under  a notice,  “Silence  is  requested,”  a number  of 
ladies  are  chatting  ( vide  letterpress  issuing  from  their  mouths).  Some,  with  opera-glasses,  are  looking  through  the  grating  to  left; 
others,  holding  books  in  their  hands,  are  drawing  up  rules ; others  are  drinking  tea.  At  centre-right  a young  woman  nurses  a 
baby.  At  extreme  right  a group  is  playing  cards.  Signed  “ C.  K.”  in  bottom  right-hand  corner.  Between  the  words  and  the 
date  on  the  title-page  is  a picture  of  Punch  in  hunting-dress,  leaping  through  the  air,  whip  in  left  hand,  hunting  horn  in  right. 
A “Pocket-Book”  standing  on  end,  showing  flap  side,  serves  for  background. 


* All  the  etchings  in  the  " Punch  Pocket-Books”  (Nos.  35  to  45)  were  printed  in  outline  and  coloured  by  hand.  The  plates  are  owned 
by  Messrs.  Bradbury,  Agnew  & Co.  In  each  case  a plain  typographical  title-page  followed  the  artist’s. 


274 


LIST  OF  ETCHINGS  BY  CHARLES  KEENE. 


41-  Size  of  Plate,  5 x iz|.  Etched  Surface,  4I  x 12. 

From  “Punch’s  Pocket-Book  for  1871.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  “Gallant  Rescue  off  the 
Bachelor  Rocks.”  Lifeboat  manned  by  women  to  left.  Figures  of  men  in  sea  and  on  rocks  to  right.  One  is  being  conveyed 
into  the  boat  by  a net  fastened  to  a long  pole,  one  by  a boat-hook.  Doves  fly  in  top  left-hand  corner.  Background  of  rock,  with 
a woman  sitting  under  an  umbrella  at  top.  Heavy  shower  to  right  ; blue  sky  to  left.  Signed  “C.  K.”  in  bottom  right-hand 
corner.  On  the  title-page,  between  the  words  “Mr.  Punch’s”  and  the  words  “Pocket-Book,  1871,”  Punch  is  represented  in 
sailor  dress,  sailing  over  the  waves  on  a “Pocket-Book.”  He  sits  astride  its  thickness,  looking  left,  with  Toby  in  front. 
Mr.  J.  P.  Heseltine  has  a study  of  this  title-page,  in  which  the  breadth  of  the  “ Pocket-Book  ” lies  on  the  sea.  Punch  is  rowing, 
looking  left,  with  Toby  between  his  legs. 

42.  Size  of  Plate,  42  x 12.  Etched  Surface,  4^  x n|. 

From  “Punch’s  Pocket-Book  for  1872.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  “The  Matrimonial 
Hurlingham.”  Various  winged  men  in  morning  dress  are  flying  through  the  air.  Ladies  are  firing  ; one  has  missed.  Comic 
letterpress  issues  from  four  feminine  mouths.  In  foreground  two  ladies  seated.  Background  of  trees,  a house  and  a church. 
Signed  “ C.  K.”  in  bottom  right-hand  corner.  Between  the  words  and  date  on  the  title-page  stands  a naked  Cupid,  looking  left, 
with  a mask  of  Punch  on  his  face,  and  holding  in  his  right  hand  a string  attached  to  a pigeon-trap  on  the  right  of  frontispiece.  A 
reprint  from  the  original  copper-plate  is  given  in  this  volume,  of  which  750  copies  are  issued.  The  British  Museum  has  a tinted 
study  for  the  frontispiece  in  which  the  Cupid  is  included. 

43-  Size  of  Plate  and  Etched  Surface,  4!  x 12. 

From  “Punch’s  Pocket-Book  for  1873.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  “Sweetness  and  Light; 
or,  Science  in  Her  Silver  Slippers.”  Scene,  a reception.  Men  and  women  in  evening  dress  converse  on  geology,  harmony, 
metaphysics,  etc.,  as  indicated  by  letterpress  issuing  from  their  mouths.  At  left  is  a man  looking  right,  playing  the  piano,  and 
talking  to  a lady  looking  left.  Two  are  sitting  in  left-hand  bottom  corner.  Title-page  shows  Punch  standing  in  front  of  a 
curtain,  looking  right,  clad  in  a fancy  dress,  a plumed  hat  in  his  right  hand,  and  in  his  left  a trumpet,  which  he  is  blowing 
vigorously,  as  indicated  by  his  swelling  cheeks  and  starting  eyes.  Toby,  seated  on  his  haunches,  with  a frill  round  his  neck,  looks 
left  contemptuously.  Signed  “ C.  K.”  in  bottom  left-hand  corner.  Mr.  J.  P.  Heseltine  has  a sketch  of  the  frontispiece,  entitled 
“The  Social  Science  Ball.” 

44.  Size  of  Plate,  12  x 5.  Etched  Surface,  12  x 4|. 

From  “Punch’s  Pocket-Book  for  1874.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  “Mr.  Punch’s  School 
of  Cookery,  Courtship,  and  Conjugality.”  Punch,  in  cook’s  costume,  is  presiding  at  a centre  table  laden  with  saucepans,  etc., 
looking  left,  and  dispensing  the  products  of  his  art.  A mixed  audience,  seated  to  left,  applauds,  and  makes  various  remarks,  which 
are  given  in  the  plate.  Dresser  containing  plates  to  right.  Young  female  cooks  in  foreground.  Title-page  shows  a clown  tilting 
a gallipot  in  his  left  hand,  and  conveying  a spoon  to  his  mouth  with  the  other.  The  gallipot  bears  the  inscription  “Jam,  1874.” 
At  back  is  a “ Pocket-Book  ” standing  on  end,  concealing  right  leg  of  an  old  man  in  fancy  dress  and  nightcap,  with  peaked  beard, 
holding  a stick  or  sword  in  his  left  hand.  Signed  “ C.  K.”  in  bottom  left-hand  corner.  Mr.  J.  P.  Heseltine  has  a sketch  of 
a similar  subject,  which  was  originally  conceived  for  the  “Pocket-Book”  of  1866.  In  this  sketch  the  clown  and  the  old  man  are 
engaged  in  holding  up  the  “ Pocket-Book  ” between  them. 

45-  Size  of  Plate  and  Etched  Surface,  12  x 4|. 

From  “ Punch’s  Pocket-Book  for  1875.”  Frontispiece  and  title  on  one  plate.  Former  is  entitled  “The  Androgynceceum 
Club,”  and  is  illustrative  of  a “ dream  of  the  future  ” — “ a joint  sex  as  well  as  a joint  stock  Club  . . . meant  to  bring  together  the 
Lords  and  Ladies  of  Creation  on  a footing  of  perfect  equality.”  Scene,  a room  in  which  a number  of  ladies  and  gentlemen,  both 
young  and  old,  standing  and  seated,  are  talking  ( vide  letterpress  issuing  from  their  mouths).  To  left  a young  couple  is  flirting. 
At  right  is  a door,  with  a young  lady  entering.  At  back  a footman  enters  with  a tea-tray.  Wall,  with  pictures  ; chandelier  from 
ceiling.  Signed  “ C.  K.”  in  bottom  left-hand  corner.  Mr.  J.  P.  Heseltine  has  a sketch  of  this  frontispiece.  Between  the  words 
and  date  on  the  title-page  is  a picture  of  Punch  mounted  on  a stool,  looking  right,  and  putting  a cloak  over  the  shoulders  of  a 
young  and  pretty  lady  in  evening  dress,  who  is  looking  right.  Toby,  with  a frill  round  his  neck,  is  standing  on  his  hindlegs,  with 
his  forepaws  on  the  stool,  looking  right.  Mr.  J.  P.  Heseltine  has  a sketch  for  an  1875  title-page,  in  which  a hobby-horse  figures 
prominently. 

The  authority  for  the  following  two  is  doubtful  : — • 

46.  Surface,  6x4. 

A man  standing  looking  left,  hat  on  head.  His  left  arm  is  in  a sling  ; his  right  hand  holds  a sword.  The  words 
“Charles  Keene,  Esq.  Copy  of  Etching,”  are  written  on  right-hand  side.  It  is  doubtful,  however,  that  this  is  an  etching.  It  is 
probably  only  a photographer’s  notion  of  one.  On  the  other  hand,  it  might  have  been  etched  on  glass  and  printed  as  a 
photograph.  Whatever  it  is,  the  plate  or  block  is  lost.  This  description  was  made  from  a photograph  in  the  possession  of 
Mr.  Henry  Keene. 

47-  Size  of  Plate  and  Etched  Surface,  6|  x 4. 

Tall  cliffs  on  right,  with  deep  black  hollow  at  base.  Boulders  in  foreground.  Thin  line  of  cliff  to  left.  No  sky. 
Mr.  Henry  Keene,  from  whose  copy  (the  first  proof)  this  description  was  made,  thinks  it  was  possibly  the  work  of  a friend  of  his 
brother.  It  is  possibly  a portion  detached  from  some  larger  plate. 


275 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


Note. — The  binding  is  only  mentioned  where  it  is  desired  to  call  attention  to  some  special  feature.  By  pointing , and  the  use  of  capitals , 
German  lettering , and  italics , an  attempt  has  been  made  to  indicate  the  display  of  the  title-pages. 


1842. 

THE  ADVENTURES  | OF  | DICK  BOLDHERO*  | IN  | SEARCH  OF  HIS  UNCLE  ; | OR,  | DANGERS  AND 
DIFFICULTIES  OVERCOME.  | Edited  by  | PETER  PARLEY.  | London  : | DARTON  & CO.,  Holborn  Hill. 
# This  is  preceded  by  a kind  of  half-title,  or  pseudo  title-page,  running  “ The  Life,  Travels  | and  Adventures  | of  j [picture 
of  old  man  reading,  etc.]  | Dick  | Boldhero.”  There  is  also  an  illuminated  title-page  of  the  series  to  which  the  book  belongs  : 
“ Darton’s  Juvenile  Library.  London  : Darton  and  Clark,  Holborn  Hill.”  The  illuminated  title-page  is  followed  by  an 
advertisement  containing  a letter  from  S.  G.  Goodrich  (“  Peter  Parley”),  dated  London,  Aug.,  1842,  in  which  he  remarks  that 
his  future  works  are  to  appear  in  England  “with  the  advantage  of  Mr.  S.  Williams’s  illustrations.” 

[i2mo  (5f  X 3-J-),  xii  (excluding  illustrated  cover)  + 203  pp.] 

Including  the  illustrated  title-page,  the  book  contains  38  pictures,  engraved  on  wood  by  James  Cooper,  and  it  is  to  be 
presumed  that  they  are  mainly  designed  by  S.  Williams.  But  the  frontispiece  is  signed  “ Chas.  Keene.”  It  represents  a man  and 
a woman  riding  on  separate  horses,  looking  left.  The  man,  who  is  in  the  foreground,  is  being  assaulted  by  a man  on  foot.  His 
hat  is  falling  off  his  head.  A pistol,  apparently  dropped  in  the  struggle,  lies  on  the  ground.  The  volume  was  reprinted  in  1845 
and  1864. 

1847. 

[SELECT  LIBRARY  EDITION]  | THE  LIFE  | AND  | SURPRISING  ADVENTURES  | OF  | ROBINSON 
CRUSOE,  | OF  YORK,  MARINER.  | Written  by  Himself.  | A New  Edition,  | with  Illustrations.  | London  : 
JAMES  BURNS,  | mdcccxlvii. 

[8vo  (6-|  X 4J-),  xiv  (half-title,  title,  and  preface)  + 364  pp. ; 6 plates,  and  title  leaf  to  Part  First,  not  paginated,  and  12  pp.  advts.] 
The  frontispiece  is  the  subject  of  the  study  in  pencil  which  occupies  the  bottom  right-hand  corner  of  the  “Studies  for 
Illustrations  to  ‘ Robinson  Crusoe,’  ” facing  p.  12  of  Mr.  Layard’s  “ Life.”  A bearded  Crusoe  is  sitting  looking  left  at  a table,  his 
head  supported  by  his  right  hand.  His  dog  is  under  the  table  ; his  parrot  is  perched  at  the  back  of  the  chair.  Two  cats  occupy 
the  top  of  a basket  to  the  right.  A ladder  leans  against  the  wall  at  back,  and  the  latter  is  covered  with  utensils.  The  second 
picture  illustrates  Chapter  II.,  Part  I.,  facing  p.  31.  Crusoe,  clean  shaven,  stands  on  his  raft,  a long  pole  in  his  hands,  looking 
left.  He  is  surrounded  by  boxes  and  casks  (see  top  left-hand  study  in  the  “ Life  ”).  The  third  picture,  facing  p.  90,  minutely 
illustrates  Defoe’s  Sketch  beginning,  “I  had  a great  shapeless  cap,  made  of  a goat  skin  (Chapter  III.,  Part  I.  See  bottom  left- 
hand  study  in  the  “Life”).  The  fourth  picture,  facing  p.  140,  illustrates  the  words  from  Chapter  V.,  Part  I.,  “Friday  took  his 
aim,”  etc.  It  is  the  “Reproduction  from  a Proof  of  Mr.  Cooper’s  Wood  Block”  given  in  the  “Life”  (p.  11).  It  is  the  subject 
of  the  top  right-hand  study.  The  fifth  picture,  facing  p.  181,  illustrates  Chapter  VII.,  Part  I.  The  wolf  is  attacking  the  guide, 
who  is  leaning  back  on  his  horse,  looking  left.  Friday,  close  behind,  on  horseback,  is  shooting  the  wolf  through  the  head.  The 
sixth  picture,  facing  p.  212,  illustrates  Chapter  I.,  Part  II.  Friday,  kneeling  on  the  ground,  looking  left,  holds  his  father’s  right 
hand,  and,  with  his  right,  strokes  the  latter’s  forehead.  A tropical  tree  shades  them.  Crusoe  and  a Spaniard  in  the  distance  ; sea 
and  ship  at  back.  All  the  above  bear  the  names  of  the  artist  and  the  engraver,  J.  Cooper,  at  foot.  There  are  decorative  chapter 
headings  and  tailpieces,  and  a vignette  of  a large  ship  (p.  304). 

1847. 

GREEN’S  | NURSERY  ANNUAL  | [Coloured  Picture  of  Children  playing  Blind  Man’s  Buff.  | London:  | DARTON  & 
CLARK.  | 1847. 

This  fancy  title-page  is  followed  by  another  with  a fancy  border  in  red  running  : “Green’s  Nursery  Annual.  | [Picture  of  a 
boy  and  girl  playing  with  a kite  and  doll  respectively.]  | London  : Darton  & Co.,  Holborn  Hill,  mdcccxlvii.” 

[8vo  (7^  x 5J),  coloured  frontispiece  with  blank  reverse,  first  title  with  blank  ditto,  second  title  with  imprint  of  Cook  & Co.,  the 
printers,  at  back,  124  pp. ; with  fancy  borders  in  red,  and  two  coloured  prints  in  text  with  blank  reverse.] 

Keene  contributed  and  signed  the  wood  engraving  to  “ 1 don’t  see  why  ! ” (p.  68).  The  father  and  mother  are  seated  at 
breakfast  or  tea,  and  Caroline,  the  naughty  girl  of  the  story,  is  standing  with  her  hand  on  the-  man’s  knee.  The  details 
are  mainly  irrelevant.  Engraved  by  J.  Cooper.  Several  of  the  drawings  in  the  book  are  unsigned.  Llarrison  Weir  drew  the 
frontispiece. 


2 77 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1847. 

THE  DE  CLIFFORDS  : | AN  | HISTORICAL  TALE.  | By  Mrs.  SHERWOOD.  | London  : | DARTON  & CO., 
Holborn  Hill.  | mdcccxlvii. 

The  above  is  preceded  by  a title-page,  designed  by  C.  Keene,  and  engraved  by  J.  Cooper.  In  the  centre  is  the  interior  of 
an  oratory,  where  two  persons  are  sitting,  holding  converse.  On  either  side  of  the  frame  of  this  picture  is  a mediaeval  armed  man 
holding  a flag.  Above,  are  the  turrets  of  a castle  ; below,  a floral  wreath.  On  the  former  are  engraved  the  words,  “The  De 
Cliffords  ” ; on  and  within  the  latter,  the  words,  “ By  Mrs.  Sherwood.” 

[l2mo  (6-|  x 4^),  frontispiece,  engraved  title,  typographical  title,  with  imprint  of  W.  Lewis  & Son  at  back,  1 p.  preface  with 
blank  reverse,  314  pp.,  16  unpaginated  illustrations  in  text,  and  6 pp.  advts.  of  Darton  & Clark.] 

In  addition  to  the  designed  title-page  the  book  contains  illustrations,  entitled  respectively,  (i)“Lord  de  Clifford  taking  leave 
of  his  Family”  (frontispiece),  (2)  “The  Procession  to  the  Christening,”  (3)  “The  Pageant  of  the  Bower,”  (4)  “The  Knight’s 
Departure,”  (5)  “The  Yawning  Match,”  (6)  “The  Knight’s  War-Horse,”  (7)  “Riding  on  the  Bear,”  (8)  The  Visit  to  the  Old 
Witch,”  (9)  “Henry  entreating  the  Audience,”  (10)  “The  Pageant  of  the  Dolphin,”  (11)  “Wilfrid  and  the  Revellers,” 
(12)  “The  Discussion  in  the  Cottage,”  (13)  “The  Game  of  the  Quintain,”  (14)  “The  Shepherd  talking  with  Henry,” 
(15)  “Alice  at  the  Well,”  (16)  “The  Old  Man  at  the  Castle,”  and  (17)  “Henry  discovering  the  Secret  of  Colin’s  Birth.” 
Nos.  10,  11,  13,  15,  and  17  are  unsigned.  All  the  rest  are  signed  by  both  C.  Keene  and  J.  Cooper,  with  the  exception  of  the 
frontispiece,  which  is  signed  by  the  engraver  alone. 


1847. 

THE  | WOODEN  WALLS  OF  OLD  ENGLAND:  | OR,  | THE  LIVES  | OF  | CELEBRATED  ADMIRALS.  | By  | 
MARGARET  FRASER  TYTLER,  | Author  of  j “Tales  of  the  Great  and  Brave,”  and  “Tales  of  Good 
and  Great  Kings.”  | London  : | J.  HATCHARD  & SON,  187,  Piccadilly.  | 1847. 

Lettered  at  back  “Lives  of  Celebrated  Admirals.” 

[8vo  (6£  x 4),  x (including  frontispiece)  + 331  pp.  and  32  pp.  catalogue.] 

The  book  contains  a frontispiece  signed  by  C.  Keene,  and  J.  Cooper,  the  engraver.  The  artist  has  chosen  an  incident  in  the 
career  of  Sir  Edward  Pellew  (Viscount  Exmouth),  connected  with  the  wreck  of  the  Dutton  (1796).  A mother  is  entrusting 
her  baby  of  three  weeks  to  Sir  Edward,  who,  in  the  absence  of  the  captain,  has  assumed  command  of  the  doomed  vessel.  It  is 
possible  (see  p.  269)  that  Keene  drew  an  illustration  for  the  chapter  on  Admiral  Jervis  (Earl  St.  Vincent)  in  this  volume,  but 
it  does  not  appear  in  the  first  edition.  A new  edition,  which  I have  not  seen,  was  published  in  1864. 

1852. 

THE  | WHITE  SLAVE  : | A STORY  OF  LIFE  IN  VIRGINIA,  | Etc.  | Edited  by  R.  HILDRETH,  Eso.  | Author 
of  “A  History  of  the  United  States.  ” I numerous  iSnguabtngS.  I [Vignette  of  THE  SLAVE 

AUCTION.]  | London  : INGRAM,  COOKE,  & CO.,  227,  Strand.  | mdccclii. 

This  is  followed  by  another  (unillustrated)  title-page,  in  which  the  story  is  called  “The  White  Slave  ; | Or,  Memoirs 
of  a Fugitive.  | A Story  of  | Slave  Life  in  Virginia,  etc.,”  and  a quotation  is  given  from  the  “Virginia  Bill  of  Rights,”  followed 
by  the  words,  “ First  English  Illustrated  Edition.  | With  Eight  Engravings.” 

[8vo  (7!  X 5)>  x + 3°2  PP-  5 the  s'x  plates  in  the  text  are  not  paginated.] 

The  illustrations,  which  are  engraved  by  Smyth,  are  entitled  respectively  “The  White  Slave  and  his  Wife,”  “The  Slave 
Auction,”  “The  White  Slave  and  the  Overseer,”  “Reading  the  Proclamation  of  the  Reward,”  “The  Slave-Owners’  Duel,” 
“Wreck  of  the  Slave  Ship,”  “Avenging  an  Old  Injury,”  “First  View  of  the  Land  of  Liberty.”  The  first,  third,  fourth,  and 
seventh  are  signed  “ C.  K.”  Mr.  Layard  calls  my  attention  to  the  fact  that  the  last  illustration  is  signed  by  something  resembling 
a face  let  into  the  side  of  a K.  There  is  possibly  a latent  pun  here — u see  K.”  Subsequent  English  editions  of  the  book  bear 
the  words  “Tenth  Thousand,”  and  “Fifteenth  Thousand,”  on  the  title-page  respectively. 


1852. 

A story  | with  | a vengeance  ; | or,  | jijoto  many  joints  mag  go  to  a Calf.  | Inscribed  to  the  Greater 
Number  of  Railway  Travellers,  | and  Dedicated  to  the  Rest.  | By  | ANGUS  B.  REACH  and  SHIRLEY 
BROOKS.  | With  a Steel  Engraving  by  John  Leech,  | And  Ten  Cuts  by  Smyth.  | London  : | 227 , Strand. 

[8vo  (7  x 41),  vi  + 90  pp.] 

The  volume  is  a collection  of  stories.  On  the  title-page  is  a boy  handing  in  a paper  at  a railway  carriage  window.  An 
initial  T (a  boy  selling  The  Illustrated  London  News)  begins  the  story  of  “The  First-Class  Carriage  an  initial  I (a  lady 
and  gentleman  seated  at  left  of  a first-class  railway  compartment)  begins  “The  Theatrical  Lady’s  Promptings,”  and  an  initial  O 
(a  young  lady  with  clasped  hands,  seated,  looking  left)  begins  “The  Young  Lady’s  Contribution.”  All  these  are  signed  “ C.  K.” 
There  are  other  illustrations  whose  source  is  doubtful.  Mr.  Layard,  who  has  examined  Ward  & Lock’s  third  edition,  would  also 
ascribe  to  Keene  the  initial  I of  “The  President’s  Donation,”  the  initial  T’s  of  “The  City  Man’s  Subscription,”  and  “The 
Clerical  Gentleman’s  Discourse,”  the  initial  C of  “The  Logical  Lady’s  Deduction,”  and  the  initial  T of  “The  Medical 
Gentleman’s  Dose,”  although  these  drawings  are  unsigned. 

A “Second  Edition,  Revised,  with  a Frontispiece  and  Ten  Cuts  by  Smyth”  (London  : Nathaniel  Cooke),  was  issued  in  1853. 
Ward  & Lock  published  another  edition  in  1856. 


278 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1853. 

MARIE  LOUISE  : | or,  | THE  OPPOSITE  NEIGHBOURS.  | By  EMILIE  CARLEN.  | [Circular  Picture  of  a 
Snowed-up  House,  entitled  “Counsellor  Utter’s  Visit  to  the  Cottage.”]  | It  MUCH)  US  JllUStolttOltS.  | 

London  : INGRAM,  COOKE,  & CO.  | mdcccliii. 

[8vo  (7f  x 4j),  frontispiece  to  “Marie  Louise,”  with  blank  reverse,  title  with  ditto,  1 to  286  pp.  and  4 full-page  illustrations 
unpaginated,  in  that  story  ; also  frontispiece  to  “Passages  in  the  Life  of  James  Leganger,”  title  to  ditto,  287  to  318  pp., 
and  list  of  illustrations  to  both  stories,  with  blank  reverse.] 

The  illustrations  to  “Marie  Louise”  are  entitled,  respectively,  “The  Engineer  at  the  Bow  Window”  (frontispiece),  “Coun- 
sellor Utter’s  Visit  to  the  Cottage”  (vignette  in  title),  “The  Broken  Flask  of  Rum,”  “The  Meeting  in  the  Wood,”  “ Pellander’s 
Interview  with  Von  Walden,”  and  “Williamson  and  Marie  in  the  Garden.”  The  fourth  and  sixth  of  these  are  signed  “ C.  K.” 
There  is  a suggestion  of  the  “C.  K.”  in  the  right-hand  bottom  corner  of  the  vignette,  in  the  bottom  left-hand  corner  of  which  is 
the  name  “ S.  V.  Slader.”  The  latter  surname  appears  also  in  the  frontispiece.  The  illustrations  to  “Passages  in  the  Life  of 
James  Leganger,”  included  in  the  same  book,  are  entitled,  respectively,  “The  Count,  the  Provost,  and  the  Painter,”  and  “The 
Travelling  Norwegian  Artist.”  The  initial  “ S.  V.  S.”  appears  in  right-hand  bottom  corner  of  the  former. 


1853. 

THE  | GIANTS  OF  PATAGONIA  : | ffiaptattt  tfoumc’S  HffOUnt  | OF  HIS  | CAPTIVITY  AMONGST  THE 
EXTRAORDINARY  | SAVAGES  OF  PATAGONIA.  | With  Six  Fine  Engravings.  [ To  which  is  added,  the 
Painfully  Interesting  Narrative  | of  the  Fate  of  the  Patagonian  Society’s  | Mission  in  Terra  Del  Fuego.  | 
[Engraving:  “Listening  to  the  Ticking  of  the  Watch.”]  | London:  INGRAM,  COOKE,  & CO.;  | and  all 
BOOKSELLERS.  | 1853. 

[8vo  (6J-  X 3 Jr),  iv  4-  160  pp.] 

The  six  engravings  are  entitled,  respectively,  (1)  “Signalling  the  Ship”  (the  frontispiece),  “Listening  to  the  Ticking  of  the 
Watch”  (the  vignette  on  the  title  and  cover),  (3)  “ Patagonians,”  (4)  “The  Captive  addressing  the  Giants,”  (5)  “The  Escape,” 
(6)  Arrival  of  the  Ships.”  The  first  is  signed  “ C.  K.”  in  bottom  right-hand  corner.  The  name  of  the  engraver,  Smyth, 
appears  on  the  third,  fourth,  and  sixth  illustrations.  The  book  was  issued  in  a bright  yellow  paper  cover,  on  which  the  title-page 
was  copied  with  the  words,  “ One  Shilling,”  in  lieu  of  the  date. 


1856. 

SHjc  | itfoofc  of  (Srrmart  Songs:  | from  | <ITIjc  Sivtrrntf)  to  tijr  jfiinctfnttl)  (tfmtuq).  | [Portraits  of  Schiller  and 
Gcethe.]  ] Translated  and  Edited  | by  | H.  W.  DULCKEN.  | London:  | WARD  & LOCK,  158,  Fleet  Street. 

| 1856. 

[8vo  (7-j  X 4f),  pp.  xxx  and  31  to  324,  and  6 unpaginated  titles  to  sections.] 

This  edition  contains  upwards  of  forty  drawings  engraved  by  Dalziel,  exclusive  of  various  ornaments  of  a more  or  less  illus- 
trative nature.  Several  are  signed  “ C.  K.”  A new  edition  was  issued  in  1871  by  Ward,  Lock,  & Tyler,  containing  five  more 
songs  and  two  additional  pictures.  Dr.  Dulcken  informed  Mr.  Layard  that  some  of  the  illustrations  were  not  “ C.  K.’s,”  but 
were  originally  drawn  by  Ludwig  Richter  for  a book  of  German  poems,  amongst  which  Uhland’s  “Eemkehr”  was  included.  It 
is  Mr.  Layard’s  opinion  that  the  following  are  by  Keene,  most  of  the  others  being  by  Ludwig  Richter,  as  also  is  the  design  in  gold 
on  the  cloth  cover  : — Frontispiece;  “Trooper’s  Song,”  p.  35;  “ The  Old  Soldier  to  his  Cloak,”  p.  43;  “A  Battle  Prayer,” 
p.  58  ; “ Men  or  Knaves,”  p.  68  ; “The  Lord  of  the  Mountain,”  p.  78  ; “The  Journeyman’s  Farewell,”  opposite  p.  92  ; “The 
Jolly  Brother”  (?),  p.  100;  “The  Toper’s  Dilemma  ”(?),  p.  1 1 3 ; “Cradle  Song,”  p.  1 1 8 ; “The  Hostess’s  Daughter,”  opposite 
p.  126;  “Evening  Song,”  p.  149;  Tailpiece,  p.  167;  “Student  Songs,”  opposite  p.  178;  “Vanity  of  Vanities,”  p.  191  ; 
“ Fiducit,”  p.  199;  “Hunting  Songs,”  opposite  p.  228;  Entertainment  (? ),  p.  242;  “The  Tailor’s  Heroism,”  opposite  p.  288; 
and  “The  Hussites  before  Naumburg,”  p.  296. 


1858  [1857]. 

NARRATIVE  | OF  THE  | INDIAN  REVOLT  | FROM  ITS  OUTBREAK  | TO  THE  | CAPTURE  OF  LUCKNOW 
By  SIR  COLIN  CAMPBELL.  I Illustrated  with  | Nearly  Two  Hundred  Engravings  from  Authentic  Sketches.  | 
London  : | GEORGE  VICKERS,  Angel  Court,  Strand.  | 1858. 

[4to  (ioi  X 7^),  iv  + a map  and  452  pp.] 

The  work,  which  appeared  in  thirty-seven  parts,  issued  in  brownish  illustrated  paper  covers,  reprinted  from  The  Illustrated 
Times , contains  two  pictures  signed  “C.  K.”  The  first,  spreading  over  pp.  54,  55,  is  entitled  “A  Ride  for  Life,”  and  illustrates 
the  flight  of  Captain  T.  Carey  and  Captain  Hayes  when  the  latter  was  killed  by  a native  officer.  In  the  picture  the  fatal  blow 
is  descending.  Captain  Carey,  at  a tearing  gallop  in  front,  turns  his  head,  and  sees  his  comrade  fall  on  his  horse’s  crupper.  The 
second  picture,  “ Holding  Out  at  Arrah,”  occupies  pp.  138,  139.  The  scene  appears  to  be  the  top  of  the  two-storied  house  with 
a flat  roof,  which  Mr.  Boyle  had  fortified.  One  of  the  garrison,  which  consisted  of  Englishmen  and  Sikhs,  ascends  through  a trap- 
door at  right  with  some  ammunition.  Boxes  and  barrels  lie  around,  and  the  men  are  firing  behind  their  stockades  at  the  unseen 
foe.  Engraver  unknown. 


279 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1858. 

PASSAGES  | FROM  | THE  POEMS  OF  THOMAS  HOOD,  | Illustrated  by  | the  Junior  Etching  Club.  | In  Thirty- 
Four  Plates.  | London  : | Published  by  E.  GAMBART  & CO.,  25,  Berners  Street.  ] 1858. 

[Fol.  (16-J  x 11J),  yiii  PP-  preliminaries,  34  plates,  34  pp.  of  letterpress  with  blank  reverse  facing  same,  printer’s  imprint  with 

blank  reverse,  and  2 blank  pp.] 

For  description  of  Keene’s  etching,  see  p.  273,  No.  33. 


1859. 

THE  | NATURE  AND  TREATMENT  OF  j GOUT  | AND  | RHEUMATIC  GOUT  | By  | ALFRED  BARING 
GARROD,  M.D.,  F.R.S.,  | Fellow  of  the  Royal  College  of  Physicians,  Physician  to  University  College  | Hospital; 
Professor  of  Materia  Medica,  Therapeutics,  and  | Clinical  Medicine  at  University  College  | [quotation  from  Rousseau]  | 
London  : WALTON  AND  MABERLY,  | Upper  Gower  Street,  and  Ivy  Lane,  Paternoster  Row  ] mdccclix. 

[8vo  (7|  x 4f),  xvi  + 601  pp.] 

This  work,  an  “enlarged  and  carefully  revised”  edition  of  which  appeared  in  1863,  and  a “ thoroughly  revised  and  enlarged” 
edition  under  the  title  of  “A  Treatise  on  Gout,”  in  1876  (this  latter  issued  by  Longmans),  contains  a number  of  chromo 
lithographs  and  some  wood  engravings,  the  former  done  by  G.  H.  Ford,  the  latter  by  an  anonymous  hand,  which  Mr.  Henry 
Keene  informs  me  was  his  brother’s.  The  pictures  are  faithful  representations  of  the  deformities  of  gouty  patients,.  The 
engraver  is  unknown,  but  Sir  Alfred  B.  Garrod  suggests  to  me  that  it  may  have  been  J.  Cooper. 


i860  [1859]. 

THE  BOY  TAR  | OR  | A VOYAGE  IN  THE  DARK.  | By  | CAPTAIN  MAYNE  REID,  Author  of  “The 
Young  Jagers,”  “Desert  Home,”  “The  Boy  | Hunters,”  Etc.  | With  Twelve  Illustrations  by  Charles  S.  Keene.  | 
London  : | W.  KENT  & CO.  (Late  D.  BOGUE),  86,  Fleet  St.  [ and  Paternoster  Row.  | mdccclx.  | [The 
Right  of  Translation  is  Reserved.) 

[8 vo  (6-f  x 4-J),  viii  + 471  pp.  and  a 32-page  catalogue.] 

The  illustrations  of  this  book  (all  full-page)  were  engraved  by  Loudan.  That  facing  p.  463  is  signed  “C.  K.”  in  bottom 
left-hand  corner.  The  following  is  the  list  of  illustrations  : (1)  “My  Boy  Audience,”  (2)  “Saved  by  Swans,”  (3)  “Rowing  to 
the  Reef,”  (4)  “My  Boat  ! My  Boat  ! Where  was  my  Boat  ?”  (5)  “Clinging  to  the  Flagstaff,”  (6)  “The  Wharf,”  (7)  “On 
Board  the  Incaf  (8)  “Tapping  the  Water-Butt,”  (9)  “An  Ugly  Intruder”  {i.e.,  a rat),  (10)  “Rat-Catching,”  (11)  “Upward 
Progress — A Deluge  of  Flour,”  (12)  “ Light  and  Liberty  at  Last.”  Mr.  Henry  Vizetelly  was  the  printer. 

Messrs.  George  Routledge  & Sons  re-issued  the  book  in  1884  in  a two  shilling  “yellow  back  ” (boards).  Messrs.  Bradbury, 
Agnew,  & Co.  were  the  printers  of  this  edition,  but  they  evidently  used  the  original  stereos.  The  pictures  were  omitted,  with 
the  exception  of  “ Clinging  to  the  Flagstaff,”  which  was  reprinted  in  colours  on  the  front  of  the  cover.  Mr.  Layard  possesses  the 
original  drawing  of  “ My  Boat!  My  Boat!” 


i860. 

THE  | VOYAGE  OF  THE  CONSTANCE  | A | TALE  OF  THE  POLAR  SEAS.  | By  | MARY  GILLIES.  | 
Illustrated  with  Eight  Engravings  | drawn  on  the  Wood  by  Charles  Keene.  | London  : | SAMPSON  LOW, 
SON,  & Co.,  47,  Ludgate  Hill.  | mdccclx. 

[8vo  (6J  x 4J),  viii  + 344  pp.  and  8 full-page  illustrations.] 

The  titles  of  the  eight  illustrations  sufficiently  indicate  their  character  : “Old  Peter  Creely  ” (the  sailor),  “The  Rescue  of 
the  Investigator ,”  “Trident’s  Sledge,”  “The  Return  of  the  Carrier  Pigeon,”  “The  First  Esquimaux,”  “Edward  and  the 
Esquimaux  Children,”  “John  and  Edward  find  a Cairn,”  “Edward  discovers  his  Father.”  All  the  illustrations,  except  the  fifth, 
are  signed  by  H.  Harral,  the  engraver. 


1861  [i860]. 

SEA  KINGS  | AND  | NAVAL  HEROES.  | A BOOK  FOR  BOYS.  | By  JOHN  C.  EDGAR,  ] Author  of  “Boyhood 
of  Great  Men,”  “The  Wars  of  the  Roses,”  | “The  Crusades  and  the  Crusaders,”  &c.,  &c.  | Illustrated  by 
C.  Keene  and  E.  K.  Johnson.  | London  : j BELL  & DALDY,  186,  Fleet  Street.  | mdccclxi. 

[8vo  (6f  x 4J-),  viii  + 336  pp.,  and  6 full-page  illustrations,  unpaginated.] 

There  are  six  drawings  of  incident,  containing  illustrations  of  “Nelson  hauling  down  the  Spanish  Flag,”  “Harold 
Flarfagher,”  “Sir  Andrew  Wood  addressing  his  Crew,”  “Blake  surprised  by  a Broadside  from  Van  Tromp,”  “Sir  Cloudesley 
Shovel’s  First  Enterprise,”  and  “Collingwood  in  Retirement.”  The  second  one  bears  a mark  resembling  =jj=  in  the  left-hand 
bottom  corner;  otherwise  they  are  unsigned  by  the  artists.  The  third  illustration  was  engraved  by  H.  Harral. 


280 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1 86 1 . 

Upra  (ffirnnnntra.  | hymns  for  the  Sundays  | & | chief  festivals  | of  | the  Christian  year.  | 

Translated  from  the  German  by  CATHERINE  WINKWORTH.  | With  Illustrations  by  and  engraved  under  the 
Superintendence  of  \ John  Leighton,  F.S.A.  | [Ornaments  : Angel  holding  shield  containing  ship:  underneath  a scroll, 
“Cast  thy  bread,”  etc.]  | London:  | LONGMAN,  GREEN,  LONGMAN,  & ROBERTS.  | 1 8 6 1 . 

[4to  (8f  x 6|)  xx  + 272  pp.] 

Keene  contributed  the  illustration  to  the  hymn  set  down  for  the  Twenty-first  Sunday  after  Trinity — viz.,  that  composed  by 
Luther  on  the  road  to  Worms,  1530.  The  artist  has  depicted  the  journey.  Luther  is  seated  in  a cart,  looking  right.  Engraved 
by  Swain.  The  preface  and  the  appended  note  are  dated  1855. 


1862  [1861]. 


ENGLISH  | SACRED  POETRY,  | OF  THE  | SIXTEENTH,  SEVENTEENTH,  EIGHTEENTH,  AND  | NINE- 
TEENTH CENTURIES.  | Selected  and  Edited  j by  ROBERT  ARIS  WILMOTT,  M.A.  | Incumbent  of  Bear 
Wood.  | Illustrated  by  | Holman  Hunt,  J.  O.  Watson,  John  Gilbert,  J.  Wolf,  Etc.  | Engraved  by  the  Brothers 
Dalziel.  I London  : ROUTLEDGE,  WARNE,  & ROUTLEDGE,  Farringdon  St.  | New  York  : 56,  Walker 

Street.  I mdccclxii. 


[40  (8f  x 6-f),  xix  (and  one  blank  side)  + 387  pp.] 

Keene  contributes  two  drawings.  The  first  illustrates  Sir  Henry  Wotton’s  “A  Hymn  to  My  God  in  a Night  of  My  late 
Sickness”  (p.  22).  A man,  presumably  Sir  Henry  Wotton,  lies  in  bed,  hands  clasped,  looking  right.  At  right,  in  a curiously 
carved  chair,  is  an  open  book.  The  second  picture  (p.  133)  illustrates  Thomas  Parnell’s  “Contentment.”  A back  view  is  given 
of  the  poet  standing  by  the  side  of  a tree  to  right,  “yonder  mossy  seat”  to  left  ; and,  for  legend,  the  picture  might  appropriately 
bear  the  lines — 


'Twas  thus,  as  under  shade  I stood, 
I sung  my  wishes  to  the  wood.” 


1862. 

THE  CAMBRIDGE  GRISETTE.  | By  HERBERT  VAUGHAN.  | Illustrated  by  Charles  Keene.  | [Vignette  of  the 
Grisette  passing  the  Proctor]  | London  : | TINSLEY  BROTHERS,  18  Catherine  St.,  Strand.  | 1862. 

[8vo  (7jj  x 5L),  iv  + 139  pp.,  and  8 full-page  illustrations  unpaginated.] 

There  are  seventeen  illustrations,  eight  of  them  full-page.  The  latter  are  entitled  “The  Cambridge  Grisette,”  “Your 
Name  and  College,  Sir?”  “Chocolate  and  Madeira,”  “The  Langham  Rooms,”  “The  Waiting-Room,”  “The  Boudoir  Bar,” 
“The  Billiard  Room  in  the  Quadrant,”  and  “The  Duel.”  That  on  the  title-page  is  a duplicate  of  the  one  on  p.  28,  the  initial 
T having  been  omitted.  Engraved  by  Swain. 


1862. 

EYEBRIGHT,  | A | TALE  | FROM  | FAIRY  LAND.  | Illustrated  by  | CHARLES  KEENE  and  S.  B.  | [Monogramic 
Device  in  Red  Relief  “ 'HltflUStn.”]  | Basingstoke  :— C.  J.  JACOB.  | 1862. 

[i6mo  (7^  x 5J),  title  and  blank  reverse  and  38  pp.  and  “Moral”  1 p.  with  printer’s  imprint  at  back, 

and  2 full-page  illustrations.] 

There  are  two  drawings.  The  frontispiece,  a marine  fairy  picture,  is  signed  “ C.  K.”  Engraver,  unknown. 

1862. 

PASSAGES  | FROM  | MODERN  ENGLISH  POETS.  | Illustrated  by  | THE  JUNIOR  ETCHING  CLUB.  | Forty- 
Seven  Etchings.  | [Circular  Monogram  of  the  Junior  Etching  Club,  inscribed  “Labor  ipse  Voluptas  ”]  | 
London:  | Published  by  DAY  & SON,  Lithographers  to  the  Queen,  | 6,  Gate  Street,  Lincoln’s  Inn  P'ields. 

[Fol.  (14J  x 10L),  viii  + 46  pp.  and  45  pp.  of  plates,  Nos.  20  and  33  containing  two  etchings  each.] 

The  book  was  issued  in  three  sizes,  published  respectively  at  £ 6 6s.,  £3  3s.,  and  £ 1 ir.  The  smallest  and  cheapest 
measures  9^  x 6J. 

For  description  of  Keene’s  etching,  see  p.  273,  No.  34. 

1862. 

PAUL  DUNCAN’S  | LITTLE  BY  LITTLE.  | A Story  for  Young  Folks.  | Edited  by  FRANK  FREEMAN.  | 
London:  | SAMPSON  LOW,  SON,  and  CO.,  | 47,  Ludgate  Hill.  | 1862. 

[i6mo  ( 6|-  x 4),  frontispiece  with  blank  reverse,  vi  + 190  pp.  + 18  pp.  catalogue.] 

The  story  is  “adapted  for  young  English  readers  from  an  American  book  entitled  ‘Little  by  Little,’  by  Mr.  William 
T.  Adams.”  At  the  head  of  Chapter  I.  the  story  is  called  “ Paul  Duncan’s  Little  by  Little,  or,  the  Cruise  of  the  Flyaway.”  The 
frontispiece  is  an  unsigned  drawing  by  Keene,  engraved  by  Horace  Harral,  and  entitled  “Paul  saving  Carrie  Littleton.”  There 
is  a boat  to  the  right  manned  by  two  boys,  one  of  whom  is  pulling  the  drowning  girl  into  the  boat.  The  sails  of  “The  Flyaway” 
are  seen  in  the  distance. 


28l 


N N 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1864. 

THE  JEST  BOOK.  | THE  CHOICEST  ANECDOTES  AND  SAYINGS.  | Selected  and  arranged  by  | MARK 
LEMON.  | [Picture  of  Medieval  Jester  entertaining  a Company]  | ILoutJOtt  fltttl  (f  fUtttlUtlQe  I I 
MACMILLAN  and  CO.  | 1864. 

[8vo  (61  x 3f),  viii  + 361  pp.] 

The  engraving  by  C.  H.  Jeens  on  the  title-page  is  after  Keene.  The  first  water-colour  design  for  it,  differing  slightly  from 
the  engraving,  is  reproduced  opposite  p.  89  of  the  “Life.” 


1864. 

LEGENDS  | OF  | NUMBER  NIP.  | By  | MARK  LEMON.  | Illustrated  by  CHARLES  KEENE.  | Hontunt : | 
MACMILLAN  and  CO.  | 1864. 

[8vo  (6-|-  x 4A),  xii  (three  blank)  4-  140  pp.  ; plates  not  included  in  the  pagination.] 

The  book  was  “ compiled  from  a translation  of  Musaeus’  works,  published  in  London  shortly  after  his  death.”  Keene 
contributes  six  full-page  drawings,  illustrating  respectively,  “ The  Gnome  King  and  the  Princess ; ” “ The  Gnome  and  the  Tailor 
“The  Gnome  and  the  Debtor;”  “Number  Nip  and  the  Glass-Seller,”  and  “The  Headless  Rogue  and  the  Countess.” 
Engraved  by  Swain.  The  cloth  cover  contains  the  words  “ Popular  Edition,”  and  the  image  of  a winged  imp  in  gold. 

1864. 

TRACKS  FOR  TOURISTS  ; | OR,  THE  | CONTINENTAL  COMPANION  : | Being  a | Handbook  with  Footnotes 
for  Pedestrians,  and  a | Guide  to  the  Principal  Mounts  for  Equestrians  ; | containing  | Inn-formation  concerning 
Hotels,  thereby  showing  the  Reader  how  | to  mind  his  Stops  ; suggesting  also  the  Best  Routes  and  Branch  | 
Lines  ; besides  a variety  of  Hints  most  valuable  to  Members  of  | the  Alpine  Club  seeking  Foreign  Climbs  ; and 

OFFERING  | A SURE  GUARD  AGAINST  ALL  TrICKS  UPON  TRAVELLERS.  | MCpHltlCtl  fCOlU  tl)f  jPclgfg  Of  | WITH 

copious  Notes,  Emendations,  Interpolations,  Explanations,  | Abbreviations,  and  Additions.  | By  F.  C. 
BURN  AND.  | The  Tours  Illustrated  with  Carica — tours  | By  CHARLES  KEENE.  | [Four  Lines  from  the 
“Ancient  Ballad  of  ‘Lord  Lovel.’ ”]  | London:  | BRADBURY  and  EVANS,  11,  Bouverie  Street,  ] 1864. 

[8vo  (7  x 4f),  xii  + 110  pp.] 

The  book — entitled  in  its  serial  form  “Hove,  When,  and  Where” — contains  sixty-eight  illustrations  of  a comic  nature. 
Mr.  Layard  remarks  that  Mr.  Burnand  considers  them  “some  of  the  very  best”  that  Keene  did.  It  seems  that  the  artist  himself 
was  “much  pleased  with  them.”  The  book  was  re-issued  in  1890  under  the  title  of  “Very  Much  Abroad.”  Engraved 
by  Swain. 


1865. 

BALLADS  AND  SONGS  OF  BRITTANY  | By  TOM  TAYLOR  | Translated  from  the  “ BARSAZ-BREIZ  ” of 
VICOMTE  HERSART  | DE  LA  VILLEMARQUU  | With  SOME  OF  THE  ORIGINAL  MELODIES  HaRMONIZED  BY  ] 
Mrs.  TOM  TAYLOR  | With  Illustrations  by  J.  TISSOT,  J.  E.  MILLAIS,  R.A.,  J.  TENNIEL,  | C.  KEENE, 
E.  CORBOULD,  and  H.  K.  BROWNE.  | [Engraving  after  J.  TISSOT.]  | ILOtttlOn  ail!)  (fffUlttnllgC  1 
MACMILLAN  and  CO.,  1865. 

[8vo  (8  x 61),  xxiv  + 239  pp.] 

Keene  contributes  the  drawing  on  p.  22,  illustrating  “The  March  of  Arthur.”  The  “ghastly  troop”  march  to  the  right, 
along  large  stones.  The  two  most  clearly  seen  have  guns  on  their  shoulders.  The  picture  appeared  in  Once  a Week, 

vol.  viii.,  p.  434.  Engraved  by  J.  Swain. 

* 1865  [1864]. 

PUNCH’S  | POCKET  | BOOK.— [Picture]  | 1865. 

This  is  followed  by  a typographical  title-page,  running — “Punch’s  Pocket-Book  | for  1865,  | Containing  | Ruled  Pages  for 
Cash  Accounts  and  Memoranda  ] for  Every  Day  in  the  Year.  | An  Almanack  ; | and  a Variety  of  Useful  Business  Information,  j 
The  Illustrations  by  John  Tenniel  and  Charles  Keene.  | In  Two  Parts.  | [Contents  of  Part  I.]  | London:  Punch  Office,  | 
85,  Fleet  Street.  | And  Sold  by  all  Booksellers.  | [Price  2 s.  6(f.]  | Bradbury  & Evans,]  | [Printers,  Whitefriars.” 

i6mo  (4f  x 3J),  vi  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  274,  No.  35. 

1866  [1865]. 

PUNCH’S  | POCKET  | BOOK  [Picture]  1866. 

This  is  followed  by  a typographical  title-page,  running — “Punch’s  Pocket-Book  | for  18 66,  | Containing  | Ruled  Pages  for 
Cash  Accounts  and  Memoranda  | for  Every  Day  in  the  Year  ; [ an  Almanack  ; | and  a Variety  of  Useful  Business  Information.  | 
The  Illustrations  by  John  Tenniel,  Charles  Keene,  and  C.  H.  Bennett.  | In  Two  Parts.  | [Contents  of  Part  I.]  | London  : Punch 
Office,  85,  Fleet  Street.  | And  Sold  by  All  Booksellers.  | [Price  2 s.  6d.~\  | Bradbury,  Evans  & Co.  | [Printers,  Whitefriars.” 

[i6mo  (4I  X 3j),  vi  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  274,  No.  36. 


In  order  to  save  space  the  coloured  frontispieces  and  titles  of  the  “ Punch  Pocket-Books  ” have  been  throughout  counted  as  iv  pp. 


282 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1 866. 

MRS.  CAUDLE’S  | CURTAIN  LECTURES.  | By  | DOUGLAS  JERROLD.  | [Picture  of  the  Caudles  in  Bed.]  | 
Illustrated  by  CHARLES  KEENE.  | London:  | BRADBURY,  EVANS  & CO.,  1 1,  Bouverie  Street.  | 1866. 

[4to  (8  X 6j),  xx  + 190  pp.,  frontispiece,  and  advt.] 

The  volume  contains  sixty  pictures,  engraved  by  Swain,  exclusive  of  a coloured  frontispiece  of  Mr.  Caudle  on  the  doorstep 
with  umbrella,  the  shadow  of  his  wife  visible  in  the  first-floor  window  to  left.  Mr.  J.  P.  Heseltine  has  a coloured  sketch 
of  this  frontispiece.  The  volume  is  printed  on  a greenish  paper.  It  has  been  reprinted  at  6d.,  and  in  a volume  with 
“Mrs.  Bib’s  Baby,”  with  an  introductory  memoir  by  Mr.  Blanchard  Jerrold. 


1 866. 


LEGENDS  AND  LYRICS.  | By  | ADELAIDE  ANNE  PROCTOR 
DICKENS.  | New  Edition,  with  Additions.  [ Illustrated  by  | 
J.  Tenniel,  George  H.  Thomas, 

Charles  Keene,  J.  M.  Carrick, 

& DALDY,  186,  Fleet  Street. 


| With  an  Introduction  by  | CHARLES 
W.  T.  C.  Dobson,  A.R.A.,  Samuel  Palmer, 
Lorenz  Frohlich,  W.  H.  Millais,  G.  Du  Maurier,  W.  P.  Burton,  | J.  D.  Watson, 
M.  E.  Edwards,  T.  Morten.  | [Ornament,  Bell  and  Anchor.]  | London  : [ BF1LL 
1866. 


[4-to  (8-J-  x 6^-),  half-title  and  blank  reverse,  one  steel  engraving,  xx  -)-  330  pp.,  and  20  full-page  engravings  on  wood.] 
Keene  contributes  two  illustrations  : — I.  “The  Settlers”  (facing  p.  158).  The  picture  suggests  the  lines — 


“ Two  stranger  youths  in  the  Far  West, 
Beneath  the  ancient  forest  trees, 
Pausing,  amid  their  toil,  to  rest, 

Spake  of  their  home  beyond  the  seas.” 


There  are  two  men,  one  leaning  his  face  on  his  hand,  the  other  clasping  both  hands  and  leaning  his  gun  against  his  shoulder. 
The  knapsack  of  the  former  lies  on  the  ground  ; that  of  the  latter  has  not  been  taken  off.  A forest  tree  shades  them.  Both 
have  a far-away,  wistful  look.  Mr.  [.  P.  Heseltine  has  two  distinct  studies  for  this  picture.  II.  “Rest”  (facing  p.  239).  The 
picture  suggests  the  lines — 

“ The  battle-field  lies  still  and  cold, 

While  stars  that  watch  in  silent  light 
Gleam  here  and  there  on  weapons  bright, 

In  weary  sleepers'  slackened  hold.” 

The  faces  of  four  recumbent  soldiers  are  clearly  seen,  one  looking  right  and  three  left.  Their  cloaks,  muddled  with  those  of 
their  comrades,  produce  an  appropriately  confused  effect.  Mr.  J.  P.  Heseltine  has  two  studies  for  this  drawing,  both  slightly 
coloured,  one  with  crayons.  It  is  stated  under  the  list  of  illustrations  that  “the  engravings  are  by  Mr.  Horace  Harral.”  The 
steel  engraving  of  the  frontispiece  portrait,  not  included  therein,  is  by  C.  H.  Jecns. 


1867  [1866]. 

TOUCHES  OF  NATURE  | By  Eminent  Artists  and  Authors  | [Picture,  Two  Boys,  One  Playing  on  a Pipe.]  | 
ALEXANDER  STRAHAN,  Publisher  ] 56,  Ludgate  Hill,  London  [ 1867. 

[^to  (12  x 9J-),  title,  with  printers’  imprint  at  back,  dedication  with  blank  reverse,  iv  pp.  contents  (two  of  them  blank), 

4-  98  pp.,  and  98  full-page  plates  on  thicker  paper  than  the  letterpress.] 

Keene  illustrated  “Crowned,”  by  Adolph  Saphir,  No.  24.  The  foreground  contains  five  figures,  all,  standing,  viz.  : — Conrad, 
the  soldier,  looking  right  ; his  sweetheart,  Nannerl,  looking  left  ; her  mother,  Else,  and  her  father,  Hans,  looking  right  ; and 
Carl,  the  baby,  playing  with  “papa’s  chako,”  which  serves  as  a crown.  The  background  shows  another  room,  wherein  a woman 
is  working.  Engraved  by  Dalziel.  Some  of  the  other  illustrations  are  engraved  by  Swain. 

1867  [1866]. 

MR.  PUNCH’S  POCKET-BOOK  | [Picture]  | 1867. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1866,  with  the  exception  of  the  date. 

[161-no  (4f  X 3I),  iv  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  274,  No.  37. 


1868  [1867]. 

MR.  PUNCH’S  POCKET-BOOK  [Picture]  1868. 

This  is  followed  by  a typographical  title-page,  running — “Punch’s  Pocket-Book  | for  1868,  | containing  | Ruled  Pages  for 
Cash  Accounts  and  Memoranda  | for  Every  Day  in  the  Year  ; | an  Almanack  ; | and  a Variety  of  Useful  Business  Information.  | 
With  | Illustrations  by  John  Tenniel,  C.  Keene,  and  G.  Du  Maurier.  | In  Two  Parts.  | [Contents  of  Part  I.]  | London  : Punch 
Office,  85,  Fleet  Street.  | And  Sold  by  All  Booksellers.  | [Price  2 s.  6d.~\  | Bradbury,  Evans  and  Co.]  [Printers,  Whitefriars.” 

[161110  (4-f  X 3I),  iv  -f  192  pp.  and  8 pp.  advts.] 

For  description  of  Keene’s  etching,  see  p.  274,  No.  38. 


283 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1868. 

DOUBLE  MARRIAGE  : | OR,  | WHITE  LIES.  | By  CHARLES  READE.  | [Picture.]  | A New  Edition.  | London  : | 
BRADBURY,  EVANS,  & CO.,  11,  Bouverie  Street,  E.C.  | 1868.  | \_All  Rights  reserved .] 

[8v°  (7J  x 5),  iv  -f-  366  pp.  and  advt.] 

This  is  a member  of  a uniform  edition  of  Charles  Reade’s  novels,  with  illustrations.  There  are  two  illustrations  by  Keene. 
The  story  represents  the  fusion  of  two  stories,  entitled  respectively,  “ White  Lies  ” and  “The  Double  Marriage,”  which  appeared 
with  illustrations,  some  signed  “ W.  Corway,”  and  some  unsigned,  in  The  London  Journal  (Vols.  XXV.  and  XXVI.,  1857).  The 
first  of  Keene’s  pictures  (the  frontispiece)  illustrates  the  lines  from  Chapter  XXl.  : “ Colonel  Dujardin  walked  quickly  down 
between  the  two  lines,  looking  with  fiery  eye  into  the  men’s  eyes  on  his  right.”  The  second  picture,  which  appears  over  the 
words  “A  New  Edition”  on  the  title-page,  represents  two  ladies  walking  to  left,  and  a gentleman  in  late  eighteenth-century 
dress  raising  his  hat.  Both  are  signed  “ C.  K.”  in  bottom  right-hand  corner.  Engraved  by  Swain.  The  book  was  re-published 
by  Chatto  and  Windus  in  1890,  with  Keene’s  illustrations. 


1869  [1868]. 

MR.  PUNCH’S  | [Picture]  | POCKET-BOOK.  | 1869. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1868,  with  the  exception  that  L.  Sambourne  takes  the 
place  of  G.  Du  Maurier,  and  the  alteration  of  the  date. 

_ [i6mo  X 31),  vi  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  274,  No.  39. 

1870  [1869]. 

MR.  PUNCH’S  | POCKET-BOOK.  | [Picture]  [ 1870. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1869,  with  the  exception  of  the  date. 

[ 1 6 mo  (4I  X 3I),  vi  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  274,  No.  40. 

1871  [1870]. 

MR.  PUNCH’S  | [Picture]  | POCKET-BOOK.  | 1871. 

This  is  followed  by  a typographical  title-page,  running — “Punch’s  Pocket-Book  | for  1871,  | Containing  | Ruled  Pages 
for  Cash  Accounts  and  Memoranda  | for  Every  Day  in  the  Year  ; | an  Almanack  ; | and  a Variety  of  Useful  Business  Informa- 
tion. | With  Illustrations  by  John  Tenniel,  C.  Keene,  L.  Sambourne,  | See.  | In  Two  Parts.  | [Contents  of  Part  I.]  | London  : 
Punch  Office,  85,  Fleet  Street.  | And  Sold  by  All  Booksellers.  | [Price  2 s.  6dl\  | Bradbury,  Evans,  & Co.]  [Printers,  Whitefriars.” 

[i6mo  (4f  x 31),  vi  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  275,  No.  41. 

The  cover  contains  a picture  of  Punch  riding  a pocket-book,  with  a quill  pen  for  head  and  tail. 

1872  [1871]. 

MR.  PUNCH’S  | POCKET-BOOK  [Picture]  FOR  | 1872. 

This  is  followed  by  a typographical  title-page,  running — •“  Punch’s  Pocket-Book  | for  1872,  | Containing  [ A Calendar, 
Cash  Account,  Diary  and  Memoranda  | for  Every  Day  in  the  Year,  | and  a Variety  of  Useful  Business  Information.  | Illustrated 
by  | John  Tenniel,  Charles  Keene,  L.  Sambourne,  &c.  | London  : | Punch  Office,  85,  Fleet  Street,  E.C.  | and  | Bradbury, 
Evans,  & Co.,  10,  Bouverie  Street,  E.C.  | 1872.” 

[i6mo  (4f  x 31),  iv  + 176  pp.] 

For  description  of  Keene’s  etching,  see  p.  275,  No.  42. 

There  is  a picture  of  Punch  making  his  bow,  on  the  cover. 

1872. 

ROUND  THE  TABLE.  | NOTES  ON  COOKERY,  | AND  | PLAIN  RECIPES,  | with  a | SELECTION  OF  BILLS 
OF  FARE  FOR  EVERY  MONTH.  | By  | “The  G.  C.”  | London  : | HORACE  COX,  346,  Strand,  W.C.  | 1872. 
[8vo  (7J  x 5J),  viii  + 303  pp.  (last  page  with  blank  reverse),  and  8 pp.  advts.,  besides  some  on  the  end  papers.] 

Sixteen  figures  of  “ How  to  Truss  Fowls,”  “How  to  Bone  Fowls,”  and  “How  to  Cut  up  Fowls,”  appearing  in  this  book  are 
said  by  Mr.  Layard  to  be  Keene’s  handiwork.  An  edition  was  imported  into  the  U.S.A.,  by  J.  B.  Lippincott  & Co.  A second 
English  edition  appeared  in  1873. 

1873  [1872]. 

MR.  PUNCH’S  | POCKET-BOOK.  | [Picture  partially  hiding  the  last  two  words.]  | 1873. 

Th  is  is  followed  by  a typographical  title-page  similar  to  that  of  1872,  with  the  exception  of  the  date  and  the  name 
“Agnew”  instead  of  “ Evans  ” in  the  imprint. 

[i6mo  (4!  x 3J),  iv  + 192  pp.] 

For  description  of  Keene’s  etching,  sec  p.  275,  No.  43. 


284 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1874  (1873). 

MR.  PUNCH’S  | POCKET-BOOK.  | [Picture  containing  the  words  JAM,  1874]. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1873,  with  the  exception  of  the  date. 

[i6mo  (4f  X 3I),  iv  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  275,  No.  44. 

1875  [1874]. 

MR.  PUNCH’S  | POCKET-BOOK.  | [Picture]  | 1875. 

Th  is  is  followed  by  a typographical  title-page  similar  to  that  of  1873,  with  the  exception  of  the  date  and  the  addition  of 
“ 8,  9,  &”  to  Bradbury’s  address  in  Bouvcrie  Street. 

[i6mo  (4f  X 3I),  iv  + 192  pp.] 

For  description  of  Keene’s  etching,  see  p.  275,  No.  45. 

1876  [1875]. 

* MR.  PUNCH’S  | POCKET-BOOK  | [Picture]  | 1876. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1875,  with  the  exception  that  the  lines  between  the  sixth 
and  the  imprint  run  “ | Illustrated  by  | John  Tenniel,  Charles  Keene,  | And  | Linley  Sambourne.  | ” 

[ 1 6mo  (4!  X 31),  iv  + 192  pp.] 

Keene  contributes  a coloured  frontispiece,  entitled  “The  Modern  Babylonian  Marriage  Mart  (Respectfully  dedicated  to 
E.  L.  Long,  Esq.,  the  painter  of  the  ancient  one,)”  and  a coloured  title-page.  Punch  officiates  as  auctioneer  at  the  left,  hammer 
in  right  hand,  pince-nez  in  left.  Both  he  and  Cupid,  who  stands  at  a little  rostrum  under  Punch,  are  looking  right.  Row  of 
young  ladies  in  the  foreground.  Subject  of  the  bidding  stands  on  a platform  just  over  them.  The  Print  Room  of  the  British 
Museum  contains  the  original  drawing  for  this  frontispiece.  Its  dimensions  are  more  than  one  foot  by  two.  On  the  title-page, 
between  the  words  and  the  date,  Punch,  looking  left,  clad  in  armour,  with  a tourney  lance  in  his  right  hand,  rides  a hobby- 
horse. He  is  bearing  off  the  ring.  The  horse’s  body  is  encased  in  a pocket-book,  the  flap  showing.  Toby  worries  him  from 
behind. 

1876  [1875.] 

HISTORICAL  & LEGEND  ART  \ BALLADS  £>  SONGS.  | By  WALTER  THORNBURY.  | IllUStiatr'tl  tig  | 
J.  WHISTLER , F.  WALKER , JOHN  TENNIEL , J.  D.  WATSON , W.  SMALL , | F.  SANDYS , 
G.  J.  PIN  WELL,  T.  MORTEN,  M.  J.  LAWLESS , \ AND  MANY  OTHERS.  \ [Oval  Ornament  of  Two 
Figures  supporting  a Vase.]  | ILOlltlOH  1 | CHATTO  and  WINDUS,  Piccadilly.  | 1876.  | [A//  rights  reserved?^ 

[4to  (91J  x 7^-),  xxiv  + 281  pp.  and  2 pp.  advts.] 

Reprinted  from  Once  a Week.  Keene  contributes  the  illustration  to  “Silver  Shoe:  Molton  Steeple  Races — 1858” 
(p.  183),  taking,  according  to  the  list  of  illustrations,  the  lines, 

"Together  went  our  double  shoes, 

Together  went  our  stride.” 

H is  illustration,  originally  published  September  14th,  1861,  really  refers  to  an  incident  in  “Lilian’s  Perplexities,”  by  A.  W.  Dubourg 
[vide  Once  a Week,  vol.  v.,  p.  309).  Two  men  on  horseback  are  galloping.  The  one  in  foreground,  clad  in  a long  overcoat  and 
trousers,  with  top-hat,  turns  his  back  on  the  spectator,  showing  nothing  of  his  physiognomy  but  bushy  side  whiskers  at  right. 
The  horseman  at  back  shows  full  face  surmounted  by  a top-hat.  In  background  to  left  is  a mounted  lady,  looking  right.  Other 
persons  indicated.  Engraved  by  Swain. 


1877  [1876]. 

MR.  PUNCH’S  | POCKET-BOOK  | [Picture  which  partly  hides  the  last  word]  | 1877. 

This  is  followed  by  the  typographical  title-page  which,  with  the  exception  of  the  date  and  the  omission  of  the  “And”  before 
“Bradbury,”  is  the  same  as  that  for  1876. 

[i6mo  (4f  x 3i),  iv  + 208  pp.] 

Keene  did  the  coloured  frontispiece  and  title-page.  Former  is  entitled  “The  Autumn  Matrimonial  Manoeuvres.”  At  right 
centre  various  mothers — “The  Generals” — stand  in  council  ; at  left  centre  a game  of  tennis  is  in  progress.  To  right  various 
loving  couples  walk  in  pairs.  To  left  are  sundry  pretty  young  women — “artillery  in  reserve.”  At  back  is  a huddled  group 
of  men  fleeing  from  mounted  women — “Light  Horse.”  Trees  here  and  there.  Title-page  shows  Punch  as  sentry  standing 
in  front  of  a “Pocket-Book  ” turned  on  its  end.  He  is  looking  left,  holding  a halbert  perpendicularly  in  both  hands.  Mounted 
women  are  about  to  pass.  Foremost  salutes  with  right  hand.  Toby  is  galloping  behind  the  pocket-book.  Signed  “ C.  K.” 
in  bottom  left-hand  corner. 


From  1876  to  1881  the  fronts  and  titles  were  woodcuts  engraved  by  Swain,  and  coloured  by  hand. 

285 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1878  [1877]. 

MR.  PUNCH’S  | POCKET-BOOK  | [Picture  containing  the  last  two  words  and  the  date]. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1877,  with  the  exception  of  the  date. 

[i6mo  (4!  x 34),  iv  + 208  pp.] 

Keene  did  the  coloured  frontispiece  and  title-page.  Former  is  entitled  “ Mr.  Punch’s  Reading  Party.”  Scene,  a meadow. 
Punch  in  centre,  reading  aloud,  surrounded  by  admiring  ladies.  One  at  left  leans  on  his  shoulder,  another  is  sitting  at  her  feet, 
with  Toby  by  her  side.  Tennis  party  at  right.  To  left  more  ladies  conversing.  Remarks  issue  from  the  mouths  of  the 
characters.  Title-page  shows  Punch  in  evening  dress,  his  opera  hat  in  his  right  hand,  taking  the  hand  of  a lady  who  wears 
a college  cap  and  her  hair  in  a bun.  She  has  a roll  in  her  left  hand  bearing  the  date  1878.  Toby  stands  on  his  hindlegs 
between  the  pair.  Background  of  pocket-book  standing  on  end,  showing  flap.  Signed  “C.  K.”  in  bottom  left-hand  corner. 


1879  [1878]. 

MR.  PUNCH’S  | 1879  | POCKET-BOOK  | [Picture  containing  LAST  THREE  WORDS]. 

This  is  followed  by  a typographical  title-page  similar  to  that  of  1877,  with  the  exception  of  the  date. 

[1 6mo  (44  x 31),  iv  + 208  pp.] 

Keene  did  the  coloured  frontispiece  and  title-page.  Former  is  entitled  “A  World  on  Wheels,  1879 — (A  Development  from 
the  Dandy  Horse,  1820).”  Scene,  open  space  by  a park,  filled  with  people  riding  bicycles  with  very  small  hind-wheels.  In 
centre,  Punch  on  bicycle,  lifting  hat  ; looking  left.  To  right  large  bicycle  with  wife  riding  side-saddle  behind  her  husband 
on  the  same  machine.  Various  remarks  issue  from  the  mouths  of  the  characters.  Signed  “ C.  K.”  in  bottom  left-hand  corner. 
Title-page  shows  Britannia  on  a large  bicycle  looking  right,  grasping  handle-bars  with  her  left  hand  and  holding  trident  with  her 
right.  Punch,  looking  right,  is  standing  with  right  hand  on  tyre,  and  left  arm  akimbo,  holding  cap.  Toby  sits  on  his  haunches 
between  bicycle  and  Punch.  Background  of  “Pocket-Book”  standing  on  end  opened,  showing  the  inscription,  “1879  Pocket- 
Book.” 

1879. 

THE  WORKS  | OF  | WILLIAM  MAKEPEACE  THACKERAY  | In  Twenty-Six  Volumes  | Volume  XXII  | 
ROUNDABOUT  PAPERS  | and  | THE  SECOND  FUNERAL  OF  NAPOLEON  | London  | SMITH,  ELDER, 
& CO.,  15,  Waterloo  Place  | 1879. 

This  is  followed  by  the  title  of  the  volume  itself,  which  runs  thus  : “ Roundabout  Papers  | (from  the  Cornkill  Magazine ) | 

To  Which  Is  Added  The  | Second  Funeral  of  Napoleon  | By  | William  Makepeace  Thackeray  | With  Illustrations  | by  the 

Author,  Charles  Keene,  and  M.  Fitzgerald  | London  | Smith,  Elder,  & Co.,  15,  Waterloo  Place  | 1879.” 

[4to  (io|-  x 74),  x + 347  pp.  and  11  full-page  plates.] 

Eight  of  the  full-page  plates  are  by  Keene,  engraved  by  Swain.  They  arc  entitled  respectively,  “ Father,  or  Uncle  ?”  (“On 

Two  Children  in  Black  ”)  ; “A  Great  Battle”  (“On  some  late  Great  Victories”)  ; “The  Evening  Post”  (“Thorns  in  the  Cushion  ”) ; 

“A  Riding  Lesson  ” (“T  unbridge  Toys  ”) ; “ Youthful  Pirates  ” (“  On  a Chalk  Mark  on  the  Door  ”) ; “Tweedledumski  and  T weedle- 
deestein”  (“Small-Beer  Chronicle”)  ; “A  Sentence”  (“On  Letts’  Diary”);  and  “An  Interviewer”  (“Nil  Nisi  Bonum”).  Mr. 
Layard  publishes  in  the  “Life”  a study  for  the  second  of  these  plates.  Keene  also  contributed  the  initials  for^pp.  3,  10,  29,  36, 
45,  52,  83,  143,  18 1,  and  189  of  the  volume  under  discussion.  The  description  is  made  from  a copy  of  the  Edition  de  Luxe. 

1880  [1879]. 

MR.  PUNCH’S  | 18  POCKET-BOOK  80  | [All  these  words  appear  in  the  Picture  itself]. 

This  is  followed  by  a typographical  title-page  running  “Punch’s  | Pocket-Book.  | A.D.  1880.  | Illustrated  by  | 
Charles  Keene,  I Linley  Sambourne  | and  John  Tenniel”  [Imprint  as  1877]. 

[i6mo  (44  x 34),  vi  + 256  pp.] 

Keene  did  the  coloured  frontispiece  and  title-page.  Former  is  entitled  “The  ‘Seven  Ages’  at  Lawn  Tennis.”  Scene, 
tennis  courts  ; large  tent  at  back.  In  centre,  soldier  and  judge  playing  ; at  left,  young  man  and  young  woman  ; at  right,  a baby 
in  arms  with  small  racquet.  Many  other  details  suggest  the  game.  Signed  “ C.  K.”  in  bottom  left-hand  corner. 

1881  [1880]. 

MR.  PUNCH’S  | POCKET-BOOK  [Picture], 

The  above  is  followed  by  a typographical  title-page  similar  to  that  for  1880,  with  the  exception  of  the  date. 

[i6mo  (44  x 34),  x + 256  pp.] 

Keene  did  the  coloured  frontispiece  and  title-page.  Former  is  entitled  “Polo  for  the  People.”  A melee  of  people  play 
polo.  To  right  a lacquey  on  a donkey  looks  left.  To  left  a typical  ’Arry  bawls  “Yah  !”  while  people  at  left  look  on  from 
a bus  and  a lady  from  a hansom  cab.  Three-quarter  length  portrait  of  Punch  in  white  hat,  hands  joined  behind  back,  looking 
right,  in  bottom  left-hand  corner.  Signed  “ C.  K.”  in  bottom  left-hand  corner.  Title-page  shows  Punch  climbing  on  to  the 
left  side  of  a hobby-horse  which  is  looking  right.  Its  body  is  encased  by  a “Pocket-Book.”  Right-hand  stirrup  attached  to  flap. 
Toby  is  leaping  towards  the  animal,  which  is  shying  violently.  Signed  “ C,  K.”  in  bottom  left-hand  corner. 


286 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1 8 8 1 . 

OUR  I PEOPLE  I Sfcrtdjcti  I)),)  I CHARLES  KEENE.  | ,-fprom  tfje  (ffoUrftion  of  $undj  | London  : | 

BRADBURY,  AGNEW,  & Co.,  Bouverie  Street.  [ 1881. 

[Fo  (14J  x 10),  viii  + 156  pp.] 

The  volume  contains  404  comic  pictures  with  footlines  to  402  of  them.  The  title-page  after  the  above  reads,  “Our 
People.  Sketches  from  Punch  by  C.  K.,”  and  contains  a caricature  of  the  artist,  with  a flower  in  his  buttonhole,  taking  off  his 
hat  to  the  reader.  By  way  of  tail-piece  to  the  “Contents  ” (which  is  really  an  Index)  is  a full-length  portrait  of  a Highlander 
in  a kilt,  who  drops  the  work  with  the  exclamation  (issuing  from  his  mouth)  : “Toots  ! there’s  no’  a Jok’  i’  th’  ’hale  beuk  !” 
Engraved  by  Swain.  The  first  two  lines  of  the  title-page  are  illuminated;  the  fourth  and  seventh  are  rubricated. 

1885. 

From  “ PUNCH”]  | ROBERT;  | Or,  | NOTES  FROM  THE  DIARY  OF  A | City  Waiter.  | [Picture  of 
Waiter]  | With  Illustrations  by  Charles  Keene.  | London  : | BRADBURY,  AGNEW,  & Co.,  10,  Bouverie 
St.,  E.C. 

[8vo  (7  x 4-f),  vi  (two  blank)  + 122  pp.] 

The  book  contains  15  illustrations,  exclusive  of  the  duplicate  of  the  first  full-length  portrait  of  the  waiter  which  is  reproduced 
on  the  cover.  All  are  by  Keene,  Mr.  Layard  tells  me,  except  the  one  on  p.  75  by  Harry  Furniss,  and  the  one  on  p.  110  by 
E.  J.  Wheeler.  It  is  stated  on  the  cover  that  the  price  is  “ one  shilling.”  The  dedication  is  dated  “Horgust,  1885.”  Engraved 
by  Swain. 


1885. 

SONGS  | OF  THE  NORTH,  | GATHERED  TOGETHER  FROM  | THE  HIGHLANDS  AND  LOWLANDS  | 
OF  SCOTLAND.  | 

Edited  by  | The  Music  | Arranged  by  | 

A.  C.  MACLEOD  and  | HAROLD  BOULTON.  MALCOLM  LAWSON.  | 

London  : | FIELD  & TUER,  The  Leadenhall  Press,  E.C.  | SIMPKIN,  MARSHALL,  & Co.  ; HAMILTON 
ADAMS,  & Co.  [ New  York  : SCRIBNER  & WELFORD. 

[4to  (12  x 9I-)  xii  + 202  pp.,  21  plates  with  no  page  no.] 

Charles  Keene  illustrates  “ Glcnlogie,”  and  may  be  supposed  to  have  taken  for  his  subject  the  lines — 

“ 1 Where  will  I get  a bonny  boy  to  win  hose  and  shoon, 

Will  gae  to  Glenlogie  and  come  again  soon  ? ' 

O here  am  I,  a bonny  boy,  to  win  hose  and  shoon, 

Will  gae  to  Glenlogie  and  come  again  soon.” 

The  mother  stands  in  centre  of  a room  in  a castle.  The  daughter  looks  out  of  the  window  at  left,  her  hands  clasped  and 
a kerchief  over  her  head.  A long-haired  boy  is  seated  at  a table  at  right  resting  his  head  on  his  left  hand.  Signed  “ C.  K.”  in 
bottom  right-hand  corner.  Printed  in  brown  ink,  apparently  by  some  photographic  process.  Mr.  Henry  Keene  possesses  the 
original  pen-and-ink  drawing. 


1886. 

IMPRISONED  | IN  A SPANISH  CONVENT  : | AN  ENGLISH  GIRL'S  EXPERIENCES.  | With  Other  Narra- 
tives and  Tales.  | By  E.  C.  GRENVILLE-MURRAY,  | Author  of  “Under  the  Lens,”  “Side  Lights  in  English 
Society,”  Etc.  | jHIlIStCatfll  | With  Numerous  Engravings.  | London:  | V IZETELLY  & CO.,  42,  CATHERINE 
STREET,  STRAND.  | 1886. 

[8vo  (83-  x 5^),  434  pp.  (including  preliminaries),  and  a slip  acknowledging  indebtedness  to  the  Editor  of  Harper  s Magaxinel\ 
There  are  13  full-page  illustrations,  with  blank  reverses,  included  in  the  pagination,  and  51  smaller  illustrations  in  the  text- 
Several  of  the  drawings  are  signed  “A.  B.”  It  is  difficult  to  say  what  was  Keene’s  exact  share  in  the  volume.  The  story  entitled 
“M.P.,  in  Spite  of  Himself,”  contains  a full-page  illustration  of  a deputation  calling  on  their  late  M.P.,  Meeking,  whom  they 
afterwards  re-elected  ?nalgre  lui.  It  is  signed  “C.  K.”  in  bottom  right-hand  corner.  It  has  no  engraver’s  name.  The  names  of 
W.  Thomas,  and  the  Direct  Photo-Engraving  Co.  are  attached  to  other  drawings  as  the  reproducers.  A second  edition  was 
published  in  1886. 

1887. 

GRASS  OF  PARNASSUS  | FROM  | THE  BENTS  O’  BUCHAN.  | [Quotation  from  Wordsworth  in  Small  Type.]  | 
Peterhead  : | DAVID  SCOT!’,  14,  St.  Andrew  Street.  [ 1887.  ] [Y//  Rights  Reserved .] 

[4to  (11J  x 8£),  x + 96  pp.,  and  30  full-page  illustrations  not  paginated.] 

This  was  a book  produced  at  two  prices  (2 s.  6d.  and  ir.  6d .)  in  aid  of  St.  Peter’s  Episcopal  Church,  Peterhead.  Keene 
contributed  nine  sketches,  which  were  lithographed  on  to  one  page  by  D.  Scott.  They  are  entitled  “Unpublished  Scraps 
from  Sketch  Books  of  Charles  Keene.”  They  include  a portrait  with  the  inscription,  “Fred  Walker,  A.R.A.,  long  ago, 


287 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1888. 

From  “PUNCH.”}  | ROBERT;  | Or,  | NOTES  FROM  THE  DIARY  OF  A | City  Waiter.  | [Picture  of 
Waiter]  | With  Illustrations  by  Charles  Keene  | SECOND  SERIES  I London  : I BRADBURY  AGNEW  & 
Co.,  10,  Bouverie  St.,  E.C. 

[8 vo  (7  x 4-f),  viii  (two  blank)  + 144  pp.] 

The  book  contains  21  illustrations,  exclusive  of  the  reproduction  of  that  on  the  title-page  which  appears  on  the  cover  and 
on  p.  84.  All  are  by  Keene,  Mr.  Layard  tells  me,  except  three — viz.,  that  on  p.  11  (probably  by  Harry  Furniss),  that  on  p.  132 
(probably  by  E.  J.  Wheeler),  and  that  on  p.  135,  by  W.  Ralston.  The  dedication  is  dated  “ 1st  Aprill,  1888.”  Engraved 
by  Swain. 


1888. 

KING  JAMES’  WEDDING  [ AND  OTHER  RHYMES  | By  J.  SANDS  | With  Illustrations  by  Charles  Keene 
Harry  Christie,  etc.  | Arbroath  : T.  BUNCLE  | 1888. 

[(8-|-  x 6f),  xiv  4-  102  pp.] 

The  book  contains  13  illustrations  by  Keene.  Mr.  Layard  says  that  those  facing  pp.  22  and  72  are  portraits  of  the  author. 
Photo-engraved  by  Dawson. 


1890. 

THE  CLOISTER  AND  | THE  HEARTH  | A TALE  OF  THE  MIDDLE  AGES  | by  | CHARLES  READE, 
D.C.L.  | [Picture]  | A New  Edition  | with  Eight  Illustrations  by  Charles  Keene  I ILonJlOn  I CHATTO  and 
WINDUS,  Piccadilly  | 1890. 

[8vo  (7J  x 5),  vi  + 509  pp.  and  32  pp.  catalogue.] 

Keene  illustrated  the  story  with  fifteen  designs  on  the  occasion  of  its  appearance  in  Once  a Week  in  1859,  in  a shorter  form, 
under  the  title  of  “ A Good  Eight.”  Seven  of  them  (engraved  by  Swain)  are  here  reproduced,  with  one  other.  The  former 
appear  respectively  on  pp.  ill,  131,  1 7 1,  19 1,  231,  254,  273,  vol.  i.  of  Once  a Week.  The  latter,  appearing  on  the  title-page 
of  the  book,  represents  a man  in  fifteenth  century  dress,  kneeling  to  right,  and  a man  leaning  on  a stick  seated  by  a woman  to 
left.  Messrs.  Chatto  and  Windus  inform  me  that  they  possess  the  blocks  of  the  pictures  that  Keene  did  for  “ A Good  Fight.” 
This  edition  was  reprinted  in  1894. 

1891. 

CATALOGUE  | OF  A | COLLECTION  OF  DRAWINGS  | by  THE  LATE  | CHARLES  KEENE  | WITH  A 
PREFATORY  NOTE  | by  CLAUDE  PHILLIPS.  | EXHIBITED  AT  | THE  FINE  ART  SOCIETY’S.  | 
148,  New  Bond  Street,  W.,  | London.  | 1891. 

[8vo  (8|  x 5I),  32  pp.  and  paper  cover.] 

The  cover  contains  the  additional  information,  “Exhibition,  No.  85,”  and  “ Price,  61.”  There  are  four  illustrations.  A 
drawing  of  Punch  seated  smoking,  appears  vis-a-vis  with  the  last  five  lines  of  the  title-page,  and  is  reproduced  on  the  cover. 
The  remaining  illustrations  include  a study  for  “Robert”  (see  title-page  of  the  first  series)  in  reverse,  a study  for  a comic 
military  picture,  and  a group  of  studies  for  a picture  of  Punch,  nailing  up  a placard  inscribed  “Gone  Abroad.”  In  the  Catalogue 
of  a similar  exhibition  of  Keene’s  work,  held  at  Manchester,  the  same  preface  and  reproductions  were  employed.  At  the 
Gallery  of  the  Fine  Art  Society,  251  drawings  were  exhibited. 

1892. 

The  | Life  and  Letters  | of  | Charles  Samuel  Keene  | by  | George  Somes  Layard.  | London  : | SAMPSON  LOW,  MARSTON 
& COMPANY,  LIMITED.  | g>t.  HuilStan’S  |t).0USf,  | Fetter  Lane,  Fleet  Street,  E.C.  | 1892. 

[8vo  (9  x 6j),  xxii  + 463  pp.,  and  30  full-page  plates.] 

The  book  contains  84  illustrations,  including  nine  portraits  of  Keene,  reproductions  of  photographs  by  Elliott  and  Fry,  and 
Mr.  Horace  Harral,  a drawing  by  S.  Read,  two  sketches  by  Mr.  H.  S.  Marks,  R.A.,  the  oil-painting  by  Sir  George  Reid,  P.R.S.A., 
two  sketches  by  himself  in  letters,  and  a Punch  picture.  Several  of  his  original  water-colours  and  other  artistic  works  were  here 
published  for  the  first  time.  The  first  hundred  copies  (or  so)  sent  out  contained  a footnote  on  p.  74,  which  was  erased  in  every 
subsequent  copy.  A second  edition  appeared  in  1893. 

There  is  also  a large  paper  edition  of  the  “Life  and  Letters,”  limited  to  250  copies. 

The  | Life  and  Letters  | of  | Charles  Samuel  Keene  | by  | George  Somes  Layard.  | London  : | SAMPSON  LOW, 
MARSTON,  and  COMPANY,  | LIMITED,  | St.  Dunstan’s  House,  Fetter  Lane,  | Fleet  Street,  E.C.  | 1892. 

Of  this  title  “Charles  Samuel  Keene,”  “ Sampson  Low,  Marston,  and  Company,”  and  “1892”  are  rubricated. 

[4to  (9!-  x 7^)  xxii  + 463  pp.  and  the  plates.] 

In  this  edition  nearly  all  the  illustrations  are  on  India  paper,  and  there  are  four  extra  illustrations  which  are  only  found  in 
this  edition,  facing  pp.  1 1 5,  195,  333,  425.  Two  of  these  are  portraits  of  Keene,  and  one  is  a coloured  facsimile  of  a suggestion 
by  Mr.  Crawhall  for  a Punch  subject. 


288 


LIST  OF  BOOKS  ILLUSTRATED  BY  CHARLES  KEENE. 


1894. 

PEN  DRAWING  AND  | PEN  DRAUGHTSMEN.  | THEIR  WORK  AND  THEIR  ME  | THODS  A STUDY 
OF  THE  | ART  TO-DAY  WITH  TECH  | NICAL  SUGGESTIONS  | by  JOSEPH  PENNELL,  | Lecturer  on 
Illustration  at  the  Slade  School  University  College.  | [Device  by  R.  A.  BELL — A Woman  Writing.] 
MACMILLAN  and  COMPANY,  | London  and  New  York.  | mdcccxciv. 

[Demy  4to  ( 1 i-|  x 9),  a photogravure  frontispiece,  xxxvi  4-461  pp.  and  blank  reverse,  R.  and  R.  Clark’s  device  and  blank 

reverse.] 

The  first  edition  appeared  in  1889.  Two  drawings  are  printed — the  first  a Punch  subject,  the  second  an  unpublished 
drawing  of  a lady  working  at  sewing  or  embroidery.  Mr.  Pennell  understands  that  it  is  a portrait  of  Mrs.  Edwards,  done  in  the 
late  ’fifties  or  early  ’sixties.  The  first  edition  only  contained  one  drawing  by  Keene — viz.,  the  Punch  subject  already  alluded  to. 

1895. 

THE  HISTORY  OF  | “ PUNCH.”  j By  | M.  H.  SPIELMANN.  j With  Numerous  Illustrations.  | CASSELL  and 
COMPANY,  Limited,  | LONDON,  PARIS,  <5=  MELBOURNE.  \ 1895.  | All  rights  reserved. 

[8vo  (9  x 6),  xvi  4-  592  pp.  and  16  pp.  catalogue.] 

The  title-page  is  copied  from  the  ordinary  edition.  There  was  also  an  fcdition  de  Luxe.  The  work  contains  a portrait  of 
Keene  by  J.  D.  Watson,  which,  with  “Torturing  the  Bagpipes”  (a  drawing  by  the  former  artist,  engraved  for  the  first  time  by 
J.  Swain),  appeared  originally  in  Black  and  White,  during  Mr.  Spielmann’s  art  directorship  of  that  paper.  They  are  reproduced 
here,  Mr.  Spielmann  thinks,  from  electros  of  the  original  blocks.  Keene’s  last  drawing — the  portrait  of  his  dog  “ Frau  ” alias 
“Toby” — also  appeared  for  the  first  time  in  Black  and  White  during  Mr.  Spielmann’s  art  directorship.  The  block  was  re-made 
in  a smaller  size  for  “The  History  of  Punch.”  An  illustrated  letter  from  Charles  Keene  to  Tom  Taylor  appears  for  the  first 
time  in  the  book,  and  the  humorous  drawing  for  the  index  (a  clown  throwing  lettered  blocks  at  an  old  man)  is  from  an  original 
possessed  by  Mr.  Spielmann — a sketch  for  the  w-ood-block.  The  same  design,  but  with  alterations,  appeared  in  Punch.  A second 
edition  of  the  book  (the  third  thousand)  was  provided  for  within  a month  of  its  first  appearance,  the  first  edition  being  sold  out 
the  day  after  publication. 


1895- 

MODERN  ILLUSTRATION  | By  JOSEPH  PENNELL,  Author  of  | “ Pen  Drawing  and  Pen  Draughtsmen,”  Etc.  | 
[George  Bell  & Son’s  Device.]  | London  : GEORGE  BELL  & SONS,  York  Street,  | Covent  Garden,  & New 
York.  ] mdcccxcv. 

[8vo  (7A  x 5I),  xxvi  4-  146  pp.,  imprint  of  Chiswick  Press  with  blank  reverse,  2 pp.  blank,  and  93  full-page  illustrations  not 

included  in  the  text.] 

The  book  contains  two  unpublished  pen-drawings  by  Keene,  a study  of  a gentleman  paying  at  a bar,  and  a study  for 
“The  Little  Duck,”  published  in  Punch , printed  from  blocks  by  Clarke  and  Dellagana  respectively. 


289 


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